Yale University Library

39002014838800

YALE UNIVERSITY
LIBRARY

CATALOGUE

OF

RARE CHINESE PORCELAINS

SPECIAL LOAN EXHIBITION

IN AID OF

'VaxioviB Cf)aritie£J

AT THE GALLERIES OF
MESSRS. DUVEEN BROTHERS
302 FIFTH AVENUE
NEW YORK
CATALOGUES - - FIFTY CENTS

"o February i6th

Press of J. J. Little & Co.
Astor Place, New York

PREFACE

HE ancient Chinese porcelains de
scribed in the following pages were
brought together for the purpose of
illustrating this remarkable and par
ticular phase of Eastem art, in its
technical and historical developments,
confident also that the artistic and decorative quali
ties of such objects could not fail to favorably in
terest a number of visitors.
The precise judgment of these art products of
early and noted periods wiU largely remain with in
dividual tastes and predilections of the amateur, al
though the fact may be appreciated that these fas
cinating bibelots have created much interest the
world over, for they not only inspire dehght, but
they afford a stimulating pastime for the collector,
contributing by their presence, whether in a cabinet,
or as an accessory for decoration, that quiet dignity
of surroundings sought by a cultivated taste.
These fragile achievements that possess so much
intrinsic art in form and color, have undergone pro
gressive diminution for centuries through a variety
of vicissitudes or agencies; carefully treasured, how
ever, as inalienable heirlooms, some of these master
pieces have weathered the storms and dangers of
9

those early periods, to appear in other countries, m
other mansions and in other cabinets.
A sort of vague mystery, a sense of something
enchanted, surrounds beautiful objects of this class.
They not only appeal to our aesthetic sense, but a
host of conjectures arises as to how such marvels
were produced, and, if they were made by Chinese
artists of remote periods, cannot they be produced
now? But such a proposition may be answered by
the erudite, and to the point, that " there are porce
lains and porcelains," as " there are paintings and
paintings." It is not so very many years ago that the prized
and superlative chefs d'cewvre in porcelains, the ne
plus ultra treasures, began to reach the collectors or
museums of the Western world, and then their iso
lated apparition (among the more or less objects of
commerce) staggered the amateurs by their tran
scendent beauty and perfection. Such examples
very promptly excited the cupidity of our connois
seurs, while the other products referred to caused
rather languid curiosity, which, in fact, led to some
wrong impressions concerning Oriental porcelains
among even an art-loving public generaUy. JSIean-
while, thanks to the more ardent researches of the
sinologists and amateurs, facts have been sifted from
fancy, and the mooted points in the early history of
this art advanced to a surer basis, so we may note that
ancient and unique porcelains of assured provenance
have now acquired an importance in the Western col
lections they had not possessed before.
An abundance of well identified specimens have
been presented for study which were hitherto less
10

appreciated or even known. Such precious examples.
with the cachet of former noted collections, and
especially those that were owned by Mandarin or
Manchu noble, reveal a striking charm in their sym
metry and perfection, in form or colored decora
tions; indeed many of this class may be directly
traced to the imperial palaces, from where they often
mysteriously disappeared (if not given to favored
and distinguished persons at court), to be occasion
ally conjured out of China, ultimately to find their
way into Western cabinets; but art objects of this
kind must not be confoimded with a class of repro
ductions of one sort or another, which are as mys
teriously shown under the mantle of antiquity.
The Chinese potters and artists attained their
preeminence in ceramic art many centuries ago, and
this masterly preeminence has not been equalled or
surpassed by any advance or modern attempts. The
characteristic paste and colored decoration of ancient
specimens possess greater vividness, and the forms a
classical elegance of their own. Each period varied
certain shapes as it did the colored glaze and
enamels, and these variations, however slight, are
sufficient for the keen eye of the connoisseur to place
his judgments as to a precise period, rather than the
date marks, which are often apocryphal.
The collections here under consideration embrace
many rare types, important and noteworthy for their
harmonious decoration, component paste or forms,
and the examples presented fairly cover the history
for the periods which are interesting and held in
such high esteem by collectors the world over. J. G.
11

HISTORICAL NOTES
A brief outline of the early history of Chinese
porcelain is deemed not out of place here, as an in
troductory to the catalogue, although it may be stated
that documentary evidences concerning porcelains
of remote epochs are rather unsatisfactory, for either
the specimens described cannot be traced, or they are
entirely lost ; the literature remains abundant, but for
practical purposes is useless without accompanying
illustrations. Sinologues proved by their researches that the
kaolinic paste, which properly constitutes porcelain
as we know it, had not yet appeared at those early
periods claimed by the Chinese; that, in fact, all the
products referred to in their annals of ceramic art as
" T'ao " could have been only a sort of pottery or
stoneware solidly glazed over with the enamel colors.
The word " Tz'ii," used in ancient documents,
came into use during the Han dynasty (202 B.C. to
220 A.D,), and designates a kind of porcelain made
from a stone called " Tzii-shih," that was found in
the district of Tzii-cheou. This so-called porcelain
has a fair ring, and doubtless is the product referred
to in the annals as " Tz'ii," in contradistinction to
the pottery " T'ao." In this connection it should be
noted that a vitrified stoneware of a grayish color
was made in China, long before that which may be
13

called true porcelain, and has been even reproduced
in comparatively late periods. The covering of
heavy glazing makes it difficult to distinguish this
stoneware from porcelain, unless the difference be
noticeable at the foot.
With the product made under the T'angs (a.d.
618-906) the somewhat nebulous era in the history
of ceramic art was brought to a close and doubt
ceases; for Sinologists and amateurs, in a consensus
of opinion, are content to accept the literary evidence
of this dynasty with regard to the invention of real
porcelain. We learn that " vases were made of a
white color, soMd and thin, of sonorous sound, and
of graceful form " ; that this new product was in
great vogue and called " Yao," to distinguish it
from the former product " T'ao," the word " Yao "
hterally signifying an object baked in a kiln, whether
porcelain or pottery.
Before entering upon this interesting dynasty
of the T'angs mention should be made of the rather
short Sui djniasty (a,d. 581-617) just preceding it,
as names of places and potters are disclosed in the
contemporary annals that should not be omitted in
any history, however brief. In this period the Em
peror decreed that the inhabitants of Ching-nan-
chen, afterward called Ching-te-chen (King-te-
chen), should make vases as a tribute for imperial
use. During the first years of the T'ang dynasty
(period of Wou-te, 612) native authors state that
a potter named Ho Chung-ch'u made porcelain with
.a white body and brilliant as polished jade, famed
as " Ho-yao." It is also recorded that Ho Chung-
14

ch'u, together with other potters of Hsin P'ing,^
was ordered to make vases for the palace.
From the impressions conveyed through the fore
going brief particulars, such productions had in
trinsically the same translucent kaolinic substance,
more or less vitrified by complete baking, which,
with the white color, is taken properly to constitute
the quahty of porcelain. M. Grandidier also con
cluded, in his work, that all earlier product referred
to as " T'ao " was only a sort of pottery made of
earth and stone, enamelled, but less thoroughly fired.
It may be interesting to note that during the
T'ang dynasty the following different descriptions
of porcelain, named after towns and places where
made, are enumerated — i.e., " Hung-chou-yao,"
" Yo-yao," " Ting-yao," " Shou-yao," " Yueh-yao,"
and " Shu-yao." It is assumed that some may not
have been porcelain; but the last-named, which was
made at Ta-i, in the Szechuan province, probably was
porcelain, if the description that it was " snow-white,"
had a " clear ring," and was also " thin and strong,"
is correct. During the long dynasty of the Sungs (a.d. 960-
1259) the manufacture of porcelain received con
siderable attention from the court and attained artis
tic development, and one that was appreciated only
in later years. Imperial factories were established
at several places, the most notable being the founda
tion, by imperial decree, of a factory at Chang-nan-
tchin, which under Emperor Ching-te, or Ching-te-
'The name Hsin P'ing was changed, before the end of the T'ang
¦dynasty, to its present name, Feou-liang. It is the chief source for
kaolin and other materials used in the manufacture of porcelain in
-China. 15

nien-tchi (1004-1007), was changed to Ching-te-
chen. Emperor Ching-te ordered all the objects made
for the palace to be inscribed underneath with the
four words " Ching-te-nien-tchi," so that we find
here the record of a date-mark on vases for the first
time. These porcelains were at once distinguished
for the brightness of the glaze, the perfection of
material, and the beauty of their forms; and soon
thereafter they were imitated in many places and
circulated throughout the empire as " porcelains of
Ching-te-tchin. ' '
Imperial factories were also estabhshed between
1107 and 1117 at Pien-liang (Honan province),
where they made the so-called vases of the magis
trates, termed " Kuan-yao," that were of special
quality and became famous in after years as " im
perial porcelain." It is recorded that they were thin
and sometimes glazed in a " moonhght " color,
" bluish " or " dark green," and " pale green "; that
the upper rim was brown, and the foot of " iron-
red " color. These vases, it is said, have been imi
tated in various places and at later periods.
The products at these different factories, includ
ing those of Lung-ch'uan, appear to have been espe
cially celadon. M. Julien referred to a blue porce
lain, made at the beginning of this dynasty, although
Sinological erudition has since proved that this por
celain was really not blue, but " pale green," or like
the " green of onions." It is possible to identify the
products of Lung-ch'uan owing to marked pecul
iarities; they are especially characterized by the fer
ruginous rim at the foot. 16

The brothers Chang, who lived between the
eleventh and twelfth centuries, were both renowned
for their porcelains; but the elder, Chang Sheng-i,
was considered the more clever. He is said to have
used a brown clay of fine quality, and covered it with
glaze that was crackled and had the appearance of
" fish roe " ; he also produced vases of the color of
rice, and it is stated that his objects had the iron-
colored rim at the opening and at the foot. History
records the fact that during the last years of this
dynasty potters tried in vain to imitate his work,
and that the clay they used was poor and the color
of the glaze less agreeable.
The " younger brother," Chang Sheng-erh, made
pieces of the same colors without being crackled;
the French translations specify among his products
pieces of an olive- green color; and also that others
resembled very ancient forms, probably copied from
the Han dynasty.
A blue of light color is also referred to as pro
duced by "the younger brother" (as he is termed
in the Chinese records) that, as described, could pos
sibly be a sort of clair-de-lune glaze (distinguished
by a heavy bluish turquoise tone, sometimes mottled
or marked with a purplish tint), stated to have
had an effect as if covered with dew, but this later
characteristic is also attributable to old celadon or
" Martabani." The embellishment of Sung celadons, as well as
all the porcelain of this early period, was confined to
engraving and modelling in low rehef. Most of the
specimens were crackled, and the different shades of
glazes are described as resembling the colors of pale
17

emeralds, or turquoise, onion-sprouts, greenish egg
shells, or moss, green, while a few are designated as
bluish-green, and others as having a gray-toned
green. Next to these, the " cream " or " buff -col
ored " glazes were most popular.
Another type of enamelled or glaze-covered por
celain of this epoch is referred to in hterature, and
identified with existing specimens by Dr. Hirth as
" Chiin-yao," or " Chiin-chou-yao," the factories
being situated at Chiin-chou (in the district now
called Yii-chou). Native documents describe a
variety of these colored glazes, such as aubergine
(purple of manganese) or the violet of the skin
of wild apples; another shade is hkened to the color
of prune-skins (" Mei-tseu-tsing ") ; a vermihon-
red is also referred to ; and also the " moonhght "
glaze we know as clair-de-lune. Some objects
were produced showing a variegated glazing, called
" Yao-pien " by the Chinese, " transmutation " by
the Enghsh, and flambe by the French. From
this we may gather that the potters of Chiin have
attempted innovations, at least in color, if not in
forms. It is evident that the material varied much
in quality, as a sandy yellowish paste is referred to
in the annals, made at some factories, which could
only have been coarse and inferior to the paste used
on the " transmutation " and celadon objects at the
Chiin kilns.
When the dynasty of Sung passed southward to
Hang-chou (a,d. 1127), a superintendent or officer
named Shao Ch'ing Chang estabhshed a small fac
tory or kiln in the new capital, and made porcelain
of a good quality, called " Nei-yao " (porcelain of
18

the palace), and especiaUy noted for its briUiant
color and transparent enamel. It was also caUed
"Kuan-yao" (porcelain of the government), to
distinguish it from that made under the Sungs of
the north, or at the eastern capital.
Under the Mongohan dynasty of Yiian (1260-
1367), a tax was put upon aU porcelain not made
for the palace, for which reason the industry ma-
teriaUy suffered, for with the exception of those
objects described as " Shu-fu-yao " (which were
made for the palace), the details given by native
writers are scanty with regard to this era. Many of
the objects were made after ancient models of the
Han dynasty; copied from ancient bronze vessels,
or in the manner of the Sungs, and the reference
made to a talent of decorations, as developed in this
period, was, as far as known, confined to filhng out
engraved hnes with several colors, or the emphasiz
ing of ornaments in rehef. The kilns of this period
fell into disuse in remote times, and not a vestige re
mains of such factories.
It may be assumed that much of the porcelain
coming from the provinces was gritty, and there
fore looked upon as unfit for the palace. The fact
is, that whUe nearly aU detaUs on porcelain given by
native authors are scanty in the extreme, it is espe
ciaUy so with the products made outside of imperial
factories; they are particularly wrapped in mystery,
and wiU doubtless remain so.
The Chinese are conceded to have been the first
to make porcelain, but their claim to its greater an
tiquity has been refuted by Western Sinologues,
and the real advent of porcelain, according to the
19

views of these authorities, dates from between the
seventh and ninth centuries, the exact period being
in dispute. Very few specimens manufactured prior to the
Sung dynasty have survived to the present day;
even of the Sung and Yiian productions the origi
nals and finer kinds have almost entirely disap
peared. Such specimens as have withstood the many
dangers of the subsequent seven or eight centuries
are chiefly celadons of considerable sohdity (Lung-
ch'uan or Chiin-chou porcelain), or small pieces of
crackle ware, and probably a few porcelains of Ting
or Ting-chou, As far back as three centuries even
the finest varieties of older products were already
scarce, and this is made evident from the Hterature
of that period (notably from the catalogue and de
scriptions preserved by Hsiang Tsu-ching, who then
stated that certain examples seen by him were almost
unique). Therefore it may be assumed that many
pieces, presumably early Sung, Tang, or Sui, Chin,
Wei, and Han, are only reproductions made by clever
copyists of the later Sungs, or under the Yiian and
Ming dynasties, if not of even later periods.
Under the Ming dynasty (1368-1643), owmg to
its length and the peaceful conditions of the coun
try, the manufacture of porcelain received the great
est development; kilns were increased, a number of
artists and workmen are named for personal achieve
ments in their art, and quantities of fine specimens in
polychrome colors were produced.
The advent of the so-caUed "blue and white"
porcelain may be particularly attributed to this dy
nasty, as its manufacture predominated among the
20

products of at least three noted periods; examples
being so remarkable that antiquarians of China, as
well as Western virtuosi or coUectors, keep up a con
tinuous search for them.
During the reign of Himg-wu (1868-1898), the
first Ming emperor, a special factory was estabhshed
at the foot of Mount Tch'ou-chan in Ching-te-chen,
where the products intended for the palace were
specially made. The Emperor ordered aU vases to
be inscribed with the date-mark of four or six char
acters, the former giving the " Nien-hao " (imperial
name), and the latter including the name of his dy
nasty. In this period several colors were in vogue —
blue, black, and a pure white, this last being most
esteemed. The period of Yung-lo (1403-1424) , of the Mmg
dynasty, is among the most noted. Objects were pro
duced, as in other periods, of varying quality, but aU
the identified or existing examples are of special in
terest and value. The " blue and white " porcelain
of this era, ranking very high, is perhaps excelled
only by those fine, soft-paste objects produced under
Hsiian-te, the succeeding period, and that of Ch'eng-
hua, a later but most flourishing era.
It is stated in the annals of Feou-hang that the
blue employed was brought from some Mohamme
dan country (Persia or Arabia) as a tribute, and
famed as " Mohammedan blue," or " Su-ma-ni," to
distinguish it from the native blue, found to be very
much inferior. This epoch was also noted for a bril
liant red decoration, employed on vases and some
times on the exterior of bowls or cups having a blue
and white interior design. 21

Mention is made by native and other authors of
fine egg-sheU porcelain produced during this period,
caUed " T'ho-ta " or " T'o-ta," "bodiless,"^ and
being as " thin as paper," A series of fine cups and
bowls are described, as used either for wine or tea,
with dragons and phoenixes among clouds, and other
dehcate ornamentation of flowers, faintly engraved
and glazed in white enamel, this decoration appear
ing only when held to the Ught, or showing more
plainly when filled with Uquid.
The period of Hsiian-te (1426-1435) is most
highly praised by the native authors, sharing with
the former era of this dynasty considerable distinc
tion, on account of the fine " Mohammedan blue "
used for decoration. Some authorities state that
this beautiful dark blue ("Su-ma-ni") material
(for embeUishing porcelain) was first used under
this Emperor, although the annals of the imperial
factories refer to this blue under Yung-lo, as above
shown. Fish vessels, or jars decorated with three red
fish on a pure " snow-white " ground, were much
esteemed, the fish being boldly outlined and red as
" fresh blood," OccasionaUy these fish would be
represented swimming on the waves engraved in the
paste, both on the inside and outside,
A stiU rarer decoration, foimd on a wine-cup, is
described as
" The white ground decorated inside and outside with
cloud scrolls engraved in the paste, a scroll border above
^"Bodiless" may also indicate objects made throughout of pure
porcelain instead of (as in the case of some productions of this period)
showing a combination of coarser materials only coated with porcelain.
22

colored crimson ; the handle, a dragon of bold design, molded
in high relief, coiled round the top, with teeth and four claws
fixed in the rim, enameled vermilion-red."
Among the ceramists recorded, mention is made
of two sisters named T'a-sieou, who produced deU
cate cups and other objects with the designs en
graved in the paste, " White vases with blue deco
ration " were also much esteemed, especiaUy if the
blue was pale, and where the ground resembled an
orange-peel surface, or faint miUet-hke elevation.
Polychrome decoration, which included the fine red
and blue (usuaUy under the glaze), was also suc
cessfully practised and esteemed as something new.
This period is speciaUy credited with the intro
duction of the then new method of perforated deco
ration, a pattern being cut through the paste and
dipped into glaze, which, when baked, shows the
pierced work fiUed up with a thin film of glaze, giv
ing a deUcate transparency to the design when held
to the Ught. This process has been imitated in Per
sia as well as in Europe,
The Ch'eng-hua period (1465-1487) of the
Mings, one of the most important in ceramic an
nals, was noted for its blue as weU as other deco
ration, although it is stated that the supply of fine
blue, previously used, became exhausted, and that
this color on porcelain became inferior in quality,
while the polychrome painting was brought to a
higher degree of excellence. An account of the so-
caUed five-color decoration, as we know it to-day, is
also given, and the colors especially referred to, other
than blue, include green, yellow, and red, together
with the purple of manganese, 23

During this Emperor's reign all porcelain painted
in colors was most highly valued; the designs for
its decoration were drawn by celebrated artists (it
is also stated that some have been drawn in the pal
ace) . The forms were elegant and original, and the
different colors carefully appUed. Judging from
the specimens, as we see them now, we may gather
that great progress was made in designs from na
ture, and that flowers and plants were the objects of
special studies.
The reign of Hung-chih (1488-1505) is referred
to by Hs'iang Yuan (called also Hs'iang Tzii-ching)
in his notes, mentioning that a Ught yellow was most
highly valued, but glazing or enamelling in other col
ors was also practised. The shades of yellow varied
from Ught to a brown, as on a boUed or newly husked
chestnut. An orange shade, and the color of a hibis
cus flower, are both mentioned in the same clironicles.
In the period of Cheng-te (1506-1521) we find
" Mohammedan blue " again referred to, and that
the governor of Yiinnan succeeded in obtaining it.
Some writers give this particular epoch the credit
for its discovery. This famous " Hoe'i-tsing " or
cobalt, was by the Emperor's command used to deco
rate imperial porcelain, and during this period was
called " great blue " and also " blue of the head of
Buddha," This beautiful color, of such superior
quaUty that it cost more than twice its weight in
gold, is again referred to in annals as coming from
the West and through Arabia (probably from Per
sia), With this material ceramists were again able to
produce a blue similar to that on the pieces produced
24

under the Emperor Hsuan-te, so that "blue and
white " came into fashion again. Genuine examples
are to-day very rare, and marks of this period can
not be relied upon, as attempts have been made in
all succeeding eras to reproduce such objects.
In the reign of Chia-ching (1522-1566), it is
stated that a great deal of porcelain decorated in
blue (blue and white) was made. The blue was
preferred if darker in color, differing from the pale
blue of the former period; and the authors say that
the best was a mixture of the foreign and native co
balt, as the former was apt to " run " when in the
kiln. The foreign blue, however, faded again in
later years of this reign, and finally is no longer
mentioned in Chinese ceramic annals.
Decorated porcelain was characterized by the
fine, deep colors employed, and cobalt-blue was
often used under the glaze in connection with a bril
liant red, yellow, violet, and green (over the glaze)
on a white ground, which at the present time is des
ignated as the " five-color " decoration.
Records of this period enumerate especially sac
rificial cups ("Tan-sien") that imitate white jade,
and were intended for the palace altars; small
" rouge-boxes " and other cups are also named, and
it is stated that single-color glazes were used, but
that one of the supplies (red of copper) failed. It
is also recorded, as in the former epoch, that the
Emperor ordered the decoration of imperial porce
lain to be blue. During this and the succeeding
period of Lung-ch'ing (1567-1572), a clever potter
named Ts'iii-kong (venerable Ts'iii) was celebrated
for his copies of objects made in earUer periods; his
25

porcelains were considered the finest of his time.
Kilns were also established in the province of Tche-
kiang (M, JuUen) ; the product, however, was con
sidered inferior to that made at Ching-te-chen.
This later reign is particularly noted for certain
porcelains that were inspired by much older speci
mens, and especiaUy for decoration by colored glazes
on " biscuit " paste. These specimens were thinly
glazed in manganese-purple, yeUow, turquoise, and
red, and when the ornamentation is in reUef, or en
graved, differences of outline and surface keep the
different glazes distinct.
The Lung-ch'ing period (1567-1572) is also note
worthy through the existence at that time of a potter
who settled at Ching-te-chen and produced a great
variety of objects, some of which exceUed in the
imitation of antiques, " amateurs disputing for its
possession as soon as it left his hands," It is also
mentioned " that they did not mind paying enormous
prices for small pieces," (This statement is inter
esting as showing that all the fine pieces were not
always intended for the palace,)
With the exception of the so-caUed " Mohamme
dan blue," there is no tint of cobalt which cannot be
found in this latter porcelain. During this reign,
and especiaUy that of Wan-U, which foUowed, the
government was harassed by the Manchu Tartars,
who eventually established the (present) Ch'ing
dynasty. The porcelains produced during these
periods are very much alike. While the product was
enormous and large orders came for the use of the
palace, the deterioration of the porcelain, especiaUy
of the wares made at the imperial factories, became

marked, largely owing to the disorder of the em--
pire and to the failure in the supply of good ma
terials. In the period of Wan-U (1573-1619) many dis
tinguished ceramists are mentioned in the Chinese
chronicles, on account of their skiU in making re
productions of older porcelains, especiaUy the fa
mous " Chiin-yao " porcelain, of the Sung dynasty,
and the so-called porcelains of the magistrates,
termed " Kuan-yao," which were noted in the twelfth
century. At Feou-Uang lived the most famous of
these Wan-U potters, who retired secretly to a por
celain factory, where he was able to make vases of
charming elegance. He took the name of Ouin-tao-
jin (or Hu-yin-tao-jen) , "the old man who lives in
retreat." Among his other products mentioned in
detail are vases of a purple color, in imitation of an
tique porcelain.
The so-called "three-color" pieces (San-ts'ai)
of this dynasty show a glazing in yellow, purple,
and green. The yellow is usually of a buff shade,
and sometimes duU; the purple varies from a brown
ish-mouse to prune color, and the green also varies
from a yeUowish-green to a strong emerald color.
The " five-color " specimens (Wu-ts'ai) are, in
fact, blue and white pieces with yeUow, green, pur
ple, and red painting over the glaze. The red color
is usually opaque, and varies in briUiancy from a
coral color to a dull, uneven sienna red, the other
glazes being more or less clear and transparent, with
the exception, perhaps, of the brown-toned (man
ganese) purple, although in fine pieces this color is
Ught and shades into a violet of clear transparency..
27

In " five-color " decorations the portions of the de
sign meant to remain blue were first painted, and the
pieces glazed and baked; then the rest of the paint
ing (in the other colors) was added over the glaze,
and the object baked again at a lower temperature.
The essential difference is that the blue is always
under and not over the glaze, whether in the Wan-h
or other Ming periods; while later, imder Kang-hsi,
for example, a vitreous blue enamel was used over
the glaze, although in rare pieces a blue margin-line
under the glaze may be noted, especiaUy on the so-
caUed " seven-color " specimens.
It is clearly evident that some potters have prac
tised their art quite independently, or have estab
lished kilns that disappeared with them, and of these
we have no record whatever.
Very Uttle is chronicled or known about the
ceramics produced under Shun-che, the first Em
peror of this Manchu Tartar dynasty, who ascended
the throne in 1644, and died in 1661,
The country remained in a rather disturbed state
during his reign, and it is, therefore, doubtful if
porcelain was manufactured in any quantity, as
pieces so marked are exceedingly scarce. It is also
probable that most of the products bear Ming marks,
and when without marks are possibly classed under
the former dynasty.
The imperial factories at Ching-te-chen, which
remained closed during the last years of the Ming
dynasty, were not reopened until the Manchu sov
ereign had firmly seated himself upon the throne.
The Emperor K'ang-hsi, who reigned from 1662
to 1772, was perhaps the most able ruler China ever
28

possessed, succeeding to the throne of his father
when but eight years old. Within six years, when
at the age of fourteen, realizing that the regents did
not understand the science of governing, he took the
reins in his own hands, ruling with consummate skill
until his death in December, 1772. This Emperor
was endowed with natural ability, activity of mind
and body, and interested himself in every department,
A keen sportsman and a great general, he was at the
same time given to learning, and fostered the arts,
avaiUng himself also in his studies of the assistance
of French Jesuit missionaries in astronomy, mathe
matics, and geometry, and on this account aided
them often in their difficulties with the Chinese lit
erary classes.
The potteries in the town of Ching-te-chen pros
pered greatly during his reign, and marked strides
were made in both good manufacture and decora
tion, some of the finest examples extant to-day, and
here under our eyes, being produced toward the
middle of his reign.
This Emperor selected the most suitable men, not
only for the various government offices to diffuse
education and to encourage art, but great potters to
take charge of the imperial porcelain works in the
prefecture of Ching-te-chen, The factories were
not slow to show the effect of these changes, and the
kilns also soon increased in number.
The imperial factory was burned in 1675, during
the rebelUon of Wu San-kuei, but was soon rebuilt,
and in 1680 a large order was given from the palace.
The factories at this time were under the supervision
of Lang-ting-so, a name that is great in ceramic his-
29

tory, who retained his office until 1688; and his prod
uct, known as Lang porcelain (caUed by the Chinese,
after the inventor, "Lang-yao"), is held in the
highest esteem by collectors and connoisseurs.
Another superintendent, Ts'ing-ying-hsuan, was
appointed, in 1683, for the imperial factory, and
" Ts'ing-yao " is the porcelain attributed to his in
vention or period of superintendence. To these
men is due the credit for the renaissance of ceramic
art in the reign of the Emperor K'ang-hsi,
We have the first descriptions, during the reign
of K'ang-hsi, of the factories of Ching-te-chen,
written by Pere d'EntrecoUes, a missionary of the
Society of Jesus, who arrived in China during the
year 1700, and while there wrote three reports, dated
Jao-tcheou, in the province of Feou-Uang, giving an
a,ccount of the town where the imperial factory of
porcelain was situated. In a letter dated September
1, 1712, he stated that while his curiosity would not
have led him to study the subject of the production
of porcelain, he felt that it might be of service to
his country and to Europe, and therefore avaUed
himself of his opportunities, " The town of King-
te-che," he writes, " is only three miles distant
from, and a dependency of, Feou-liang, situated in
A plain, and is surrounded by high mountains; the
one to the east, against which the town is buUt, is
outwardly in form of a semicircle, and from the
two adjacent mountains issue two rivers which
unite: one is small, the other very large, and their
confluence forms a magnificent port over three
miles in length, and a vast basin wherein the river
loses much of its velocity. Frequently in this large
30

harbor are moored two or three rows of junks.
Entering the port, the sight is greeted by immense
volumes of smoke and flames,^ which mark the out
lines of the town against the crescent of mountains
in the background, whose relative position may per
haps be the reason that King-te-chen has surpassed
aU other locaUties,"
The short reign of the Emperor Yung-cheng
(1728-1785), foUowing that of his father, K'ang-
hsi, was nevertheless a most interesting period in
Chinese ceramic art, Yung-cheng, like his father
before him, appears to have taken great interest in
aU that transpired at the imperial factories, situated
in the town of Ching-te-chen,^ and did not fail in
expressing his gratification at every new discovery,
bestowing praise and admiration upon all such prod
ucts as they arrived at the Peking Palace,
As the rose-carmine color, derived from chloride
of gold, was discovered during that period, decora
tors were naturally attracted by its magnificence,
and it at once dominated their work. This impor
tant innovation also introduced many new varieties
in half-tones with felicitous effects, but the true ex
planation may doubtless be found in the superior
• " And bird-like poise on balanced wing
Above the town of King-te-chen, —
A burning town or seeming so, —
Three thousand furnaces that glow
Incessantly, and fill the air
With smoke uprising, gyre on gyre,
And painted by the lurid glare
Of jets and flashes of red fire."
Longfellow, " Keramos."
' Ching-te-chSn and the imperial factories were totally destroyed
during the Tai-Ping rebellion in 1860. 31

skill and energy displayed by the superintendent,
Nien-hsi, who in 1727 was intrusted with the man
agement of the imperial factory, and he personally
superintended the execution of the Emperor's or
ders, and was soon thereafter joined by T'ang-ying,
a brilUant decorator (who succeeded to the director
ship later, under Ch'ien-lung) , They jointly ac
quired great reputation, Chinese writers giving both
officials credit for special practical knowledge; they,
however, also enUsted the services of the most able
decorators and potters, and were thus able to create
objects that were new or free from archaic imita
tions, and so this era became transitional as weU as
interesting. The products of this epoch show a gradual re
duction into enamels from the transparent and
clear-colored glazes employed dm-ing the K'ang-hsi
regime; or, in other words, the clear, strong, and
vigorous rendering which marks specimens of the
seventeenth century, merged into half-tones with a
more labored finish, more hard and stencil-hke in
exactness. Superabundant detail in accessories marks many
objects of the eighteenth century that originated
under Yung-cheng, The great master-painting
and drawing of the Sung and Yiian dynasties were
copied, but the decorative force was weakened by
added detail, or by the scrupulous care in finish,
largely the fault of European demands. On the
other hand, there exist specimens, which belong also
to this period, that are of great perfection both in
technique and purity of paste; where decoration
subordinates itself with tact, and is arranged so that
32

the peUucid quaUty of the porcelain is seen to ad
vantage, EspeciaUy is this so in smaller pieces,
where the skiU of workmanship is most remarkable,
NaturaUstic floral decoration was certainly car
ried to a perfection unknown before; also, much
refinement in shape as well as decoration is to be
found on the masterpieces or palace objects which
were untU very recent years unrevealed to the West
ern world.
As the dominant rose color of Yung-cheng super
seded the green of the preceding K'ang-hsi period,
such successive predominance of colors induced
Jacquemart to group them in two classes — i.e.,
familie 'verte and familie rose — which designations
may not be very technical, but satisfactorily express
the characteristics of each type, and such terms are
now accepted generally, after some attempts to
change them.
The blue and white porcelain of this era is in
ferior to that of former epochs, especiaUy owing to
a certain hardness or regularity in design; but the
fineness and perfect quality of the material give
some distinction and beauty to such pieces.
Porcelain was not looked upon in this period
merely as a vehicle for decoration, but a thing to be
admired in itself, hence some wonderful white speci
mens exist that are marvels in technique and finish.
This period was marked also by the production
of certain types and objects which are masterpieces
of the Chinese ceramist's ingenuity and skilful
workmanship. Aside from the deUcate egg-sheU
plates with the rose-colored backs and wonderfuUy
minute painting, may be mentioned tall vases with
S8

the rouge d'or souffle, and those pieces having an
interior body with an outer shell in varying modes
of openwork and painted decorations in both, and
the remarkable hexagonal or octagonal lanterns
made of delicate egg-shell porcelain, reticulated and
ornamented with enamel paintings.
The fourth Emperor of the present dynasty was
Ch'ien-limg (1736-1795), the son and successor of
Yung-cheng, who also protected the ceramic indus
try with royal munificence during the sixty years of
his reign.
In this period great quantities of fine porcelain
were made, and it was during this reign that Euro
pean influence began to affect the decoration and
the shapes of Chinese porcelain, due especiaUy to
the trade with Holland and the Jesuit missionaries
of France, which started during the short term of
Yung-cheng, and spread very rapidly.
Imitation of old wares was practised, but rather
for native coUectors, Some writers state that a
great number of genuine pieces of the Sung and
Ming dynasties were sent from the palace to Ching-
te-chen as models for this purpose, although imita
tion of ancient objects always existed, as shown by
native records, and by the Jesuit fathers at the close
of the seventeenth century.
The director T'ang-ying, mentioned in the reign
of Yung-cheng, continued his work and produced
objects that surpassed aU others. He succeeded in
reproducing the effect in porcelain of precious
carved enamels, and that of cloisonne. The desire
to imitate other substances, which had from the first
animated ceramic artists of China, cuhninated in
84

this reign with their mastery over colors and com
binations. They copied with wonderful closeness objects in
gold, sUver, bronze, jade, lacquer, mother-of-pearl,
sheUs, rhinoceros horn, bamboo, wood, gourd-skin,
marble, carnelian, agate, and archaic rusted iron.
They imitated also, at least in pattern and color,
bottles of Venetian glass and Limoges enamels.
Special attention was paid during both the Yimig-
cheng and Ch'ien-lung periods to the production
of "Yao-pien" {flambe), of which Chinese writers
distinguish three kinds — i.e., two supposed to be
due to celestial agency, and the third to human in
genuity. Oxidulated copper furnishes vitrifiable painting
with a fine red. This, thrown in a body on a vase,
forms the tint caUed haricot, a kind of fawn color.
With a further quantity of oxygen of equal amount
a protoxide is formed, producing a beautiful green
that may be changed into sky-blue by increasing the
oxygenation. The tints upon a vase may be modi
fied indefinitely by a due regulation, at different
periods during the process of baking, of the cxu-rents
of air admitted.
On the whole, the Ch'ien-lung period was dis
tinguished by mastery of materials, from the plain
" self -glazed " piece to the richest landscape, fig
ure, and flower enamellings, and from the plain
surface to the most elaborate modeUing and per
forations. As there is no object exhibited of a later period
than Ch'ien-lung, the historical notes are closed at
this point, 35

THE INTRODUCTION OF CHINESE
PORCELAINS INTO EUROPE
A distinct reference to porcelain outside of China
is first made in the twelfth century in a translation
by Abbe Renaudot, taken from an Arabian manu
script (National Library at Paris), giving the year
of the Hegira 567 (a Mohammedan date), corre
sponding to the Christian era a,d, 1188, when a ser
vice of " China-ware " consisting of forty pieces of
different kinds was sent with other presents to Nur-
ed-din, KaUph of Syria, by his Lieutenant Saladin
(a hero of the Crusades) after his conquest of SjTia.
From other sources we learn that Marco Polo —
traveUing in China during the close of the twelfth
century and visiting porcelain factories there (about
1187) — dwelt on the beauty of this product in his
accounts, and brought some pieces on his return to
Venice, M, Du Sartel, in his work on porcelains, refers
to a present of porcelains, among them vases and
other objects, sent in 1487 by the Sultan of Egypt to
Lorenzo de Medici, at Florence, Other traveUers,
of the fourteenth and fifteenth centuries, as of later
periods, note the vases and bowls of China as re
markable. The Portuguese doubtless made the first
importation of Chinese wares into Europe; next
the various East India companies of England and
36

Holland, foUowed in turn by Italy, France, and
Norway. A claim is made for an object in the royal col
lection at Dresden, that was brought to Europe by
a crusader of the twelfth century (described as a
small ivory-white plate of china, having uncut rubies
and emeralds, set in gold fiUgree, with the Chinese
word Fu [happiness] marked on the foot in seal
characters). The oldest coUection of Oriental porcelain in
Europe is in the Dresden GaUery, formed between
1694 and 1705 by Augustus the Strong, King of
Poland and Elector of Saxony, therefore composed
mainly of pieces produced during the reign of
K'ang-hsi, and very interesting for its variety of
decorated porcelains, especially of the familie verte
genre. Among other notable coUections in Ger
many and Austria are those in the HohenzoUern
Museum at BerUn, and the coUection at Vienna
which was formed by Prince Liechtenstein,
The first piece of chinaware known in England
may be the celadon examples at New CoUege, Ox
ford, said to have belonged to Archbishop Warham
between 1504 and 1532,
In 1506 PhiUp of Austria, on reaching England,
being entertained by Sir Thomas Trenchard at Wey
mouth, presented " some bowls of Oriental china, one
of which was mounted in massive silver gilt." Other
china pieces are to be noted in England that were
mounted in silver, and which came there during the
reign of Queen EUzabeth.
Among the great coUections in England to-day
should be mentioned Mr, Salting's CoUection, ex-
37

hibited in the South Kensington Museum, and the
Sir WoUeston Franks CoUection, in the British
Museum, London, aside from a number of private
collections which are notable in England,
The Louvre Museum of Paris now holds the
Grandidier Collection, which is preeminent in
France, containing so many unique and extraordi
nary specimens that afford unusual opportunities
for the student of ceramics. Other large coUections
are owned in France, but, Uke those in other coun
tries, they can only be seen in private gaUeries,
The MetropoUtan Museum of Art in New York
acquired its first collection of Chinese porcelains
many years ago, notably the Avery CoUection, which
was supplemented later by other coUections, This
museum now and for some years has housed the
magnificent collection of Mr, Morgan, that affords
incomparable features in the study of many types
for the pubhc and amateur alike, and especiaUy in
decorated porcelains.
In briefly noticing some of the coUections on
public view, mention may be made of the Boston Art
Museum, where the Ames and other collections are
displayed. The Art Institute of Chicago has been
enriched lately by the Nickerson CoUection, and the
Smithsonian Institute at Washington houses the
Hippisley Collection,
During the last twenty years, and since the move
ment started in America by those ardent amateurs
whose coUections were dispersed at sales, it may be
stated that the public have become more generally
interested in Chinese porcelains, and particularly in
the rarer kind, such as were unknown before, even
38

to the many otherwise weU informed, A strong im
petus was given through one of the exhibitions held
at the Union League Club some years ago, when
several of the most important of our collectors
loaned their treasured objects for comparison and
study. The case filled with fine specimens of
Lang-yao {sang de boeuf) will certainly be long re
membered. A similar loan exhibition is recaUed that
was held under the auspices of the Academy of De
sign on Twenty-third Street, foUowed later by an
other loan exhibition held by the Fine Arts Society
in Fifty-seventh Street, where some of those same
collectors showed other remarkable examples that
have been admired and since acquired renown for
their unrivaUed quality among the connoisseurs the
world over.
Large coUections outside of palace possessions
no longer exist in China, and with the imperial fac
tories destroyed since the Tai-ping rebeUion in 1860,
the loss is irreparable; and, in fact, since the last
century the decadence of ceramic art in China has
been most marked; potters no longer created, but
sacrificed themselves to the European demands of
export taste or trade.

The singular fact should be noted that China,
although the creator of this marveUous product, so
pleasant to the eye, so worthy as an adjunct to our
most luxurious surroimdings, failed to give it a
name other than " tzii," " t'ao," or " yao," as it re
mained for European countries to call it porcelain.
This word has tmdergone sundry unimportant
39

transformations at the hands of the writers of past
ages, who gave the name to Chinese porcelain, prob
ably because it resembled sheU, At least, this seems
to be the accepted hypothesis. The word " pource-
lain " is often found in mediaeval French inventories,
appUed to many different objects, and evidently was
used to specify all kinds of carved vases or utensils
made of shells or mother-of-pearl. The word por
celain is possibly of Latin origin, and derived from
the similarity of the glazed white surface to that of
the cowrie sheU {porcellana) .
Jacquemart and Fiquier beUeved the word por
celain to be derived from the Portuguese porcolana,
or porcolla, vessel.

WHITE PORCELAIN
The porcelain not intended for decoration in
color is produced in glazed and unglazed (biscuit)
form. The latter is comparatively rare in China,
and, as a general thing, is found only on smaU ob
jects or statuettes, in moulded form, or with per
forated embelUshments,
Glazed white porcelain is of two distinct types,
and termed hard and soft paste; of these the first
variety is the larger and also varies considerably in
quaUty. Those, however, which may be attributed
to the best periods represent the acme of technical
skiU and perfection in pure porcelain; the paste in
such pieces is generaUy found to be of a pure white
peUucid texture with briUiancy, according to their
provenance. 40

The Chinese soft-paste porcelain is distinguish
able more especiaUy by a fine crackle in the glazed
surface, with a creamy white tint, that in some speci
mens resembles new ivory; or, generaUy speaking,
a softer white is revealed than in the hard-paste por
celain. In good specimens the glaze wUl be fomid
closely blended with the paste, imparting a beauti
ful soft texture; also it wiU be noticed that objects
in soft paste are surprisingly Ught in weight.
The embelUshment on objects intended to remain
white includes raised or pressed ornamentation as
weU as reticulated designs; the "rice-grain" pat
tern (a most popular mode) consists of a fretted or
star diaper motive, pierced in the body of the porce
lain, then filled in with glaze, leaving the pattern
semi-transparent. The fine white porcelain made under the Sungs,
and known as " Ting-yao," is probably the oldest of
this type extant, and also the most celebrated. Re
produced in nearly every succeeding period, such ob
jects have remained unrivaUed in their translucent
and lustrous quaUty. These products of the early
Sungs are described in contemporary annals as re-
sembUng the " mutton-fat " tinge of poUshed jade,
while the latter types are somewhat more duU in
color, with minutely crackled creamy-white glaze.
Another white porcelain, known as " Fu'chien,"
was produced during the Sung dynasty. The best
specimens of this type show a pale rice-toned glaze,
while the paste is of a heavy texture with engraved
designs characteristic of this era.
A noted white porcelain produced during the
Yiian dynasty is known as " Shu-fii," but native
41

authors state that it was first merely a copy of the
famous " Ting-yao " made under the northern
Sungs, Identified specimens show similar Ughtly
engraved surfaces under the cream or ivory-white
glaze, notable for its pleasing soft texture.
The " Fen-ting," or white Ting porcelain, is a
particular kind of soft-paste porcelain, named also
after " Ting-yao " of the Sungs, and made under
the succeeding dynasties down to more recent periods.
The Yimg-lo period is celebrated for its white
porcelain, as are some of the other or later periods
of the Ming dynasty, but the greater number of
extant specimens in white date from the present
dynasty. The finest and technicaUy most perfect
of this class were produced during the K'ang-hsi,
Yung-cheng, and Ch'ien-limg periods.

BLUE AND WHITE
Although no mention is made of painting or
decoration in blue before the Yiian dynasty, yet
blue was from the earliest times one of the most
favored colors. In the T'ang dynasty blue was
called the "color of the distant hiUs"; in the pos
terior Chou dynasty (954-959), the "blue of the
sky after rain," In another period it was caUed the
" prohibited color," because it was reserved for the
Emperor or the palace, and not to be seen by the
common people.
In early Chinese literature no reference is made
to blue decoration, so that " blue and white prac
tically commenced with the Ming dynasty " ; and
42

this refers especiaUy to the periods of Hsiian-te,
Cheng-te, Chia-ching, and Wan-U, although later,
in the Ch'eng-hua period, the foreign blue failing,
the Chinese used their native blue, prepared from the
cobaltif erous ore of manganese. It is, however, dur
ing the K'ang-hsi period that it may be said there is
no tint of cobalt which cannot be found, with the
exception of the fine "Mohammedan blue" ("Su-
ma-ni"). WhUe the Ming blue is boldly painted
and dark, and also distinguishable by more massive
forms, the K'ang-hsi blue and white porcelain is finer
in paste and technical perfection, and possesses a
gradation and pulsating quaUty of color which par
ticularly gives it a charm that we miss in older or
other types.

POWDER BLUE
A most inteUigent record deaUng with the meth
ods and accompUshments of Chinese ceramists is
embodied in the letters of Pere d'EntrecoUes, a
French missionary who went to China in 1700.
These letters cover a period of twenty-two years
(during the reign of the Emperor K'ang-hsi), con
tain much information concerning the technique of
objects in porcelain, and have been of great utility
to aU subsequent writers on the subject.
The following information, deaUng in part with
a class that we have here before us, is extracted from
d'EntrecoUes's letter of September, 1712, Refer
ring to " powder blue," he wrote that " the blue used
for souffle surfaces is very carefuUy prepared from
43

the time it is mined, and only the smaUer particles
of the mineral (cobalt) are selected for the first
grade, " Pieces steeped in this color were not considered
so valuable as those with the color deposited by blow
ing, a process requiring the utmost care; and such
objects were valued according to the brUUancy of
the glazed result.
" In this process the color is blown (writes the
worthy pere) from the extremity of a bamboo tube,
on which a niece of gauze is attached to one end, on
which the prepared color is put, by dipping, or ap
phed with a brush; then the tube is directed towards
the surface on an object to be decorated, and blown
from the other end; the fine powdered bits graduaUy
cover the required surface uniformly, according to
the skill of the decorator,
"If reserved spaces are left, these are painted
separately or, after the glazing, in one variety; the
white reserve medalUons are also decorated in cobalt
blue, but before the glaze, and heightened uniformly
by the firing together with the blue souffle.
" In the production of the second sort the Chi
nese varied the monotone color of the souffle treat
ment by painting in polychrome colors on the white
medalUons after the first firing,
" The white reserve spaces partake of many
forms; the shapes of a leaf, flower, or fruit are fa
vorite outhnes, and are made by cutting them out in
paper and fixing them when wet on the object be
fore applying the blue " (so-caUed powder blue
souffli, termed by the French bleu de poudre and
also bleu fouette) . 44

GROUP WITH A COLORED FOUNDA
TION
The vases and other objects with a colored foun
dation of transparent enamelUng or decoration over
the biscuit paste, properly form a class by them
selves, and have always held a high place in private
coUections and museums everywhere ; ranking among
the most highly-prized productions of Eastern cer
amic art,
A number of the examples shown are of the char
acteristic type and color that may be attributed to
the Mings, when colored enamels were appUed in a
flat and unshaded manner. Other examples were
doubtless produced under K'ang-hsi, when more care
and deUcacy in the handUng of translucent colors is
shown. In this coUection may be seen many examples of
the now rare three-color types, in the form of smaU
objects and statues, and the perfection reached dur
ing the K'ang-hsi period is largely due to the long
and peaceful reign of this Emperor, when the skill
in the use of overglazing painting in clear or vitre
ous glazes made greatest progress, and the number
of colors increased from three and five to seven and
more colors (when the half-tones are counted), not
to mention the use of gilding in decoration. A dis
covery of the gold-reds {rouge d'or) gradually
changed the dominant greens, yeUows, or purples
from the so-caUed familie verte to familie rose genre,
which developed under the reign of Yung-cheng,
and reached its greatest perfection under Ch'ien-
lung. 45

However, during this reign a considerable change
is noticeable in the details of decoration, especiaUy
towards the end, when foreign influence becomes
marked with a decided tendency to Western orna
ment and less archaic Chinese symbohsm. As wiU
be readily seen, during the several periods under the
Ming dynasty, when decoration was in vogue, that
thorough arabesque decoration was utihzed, it was
purely Buddhistic or Mohammedan in its charac
ter, and when the decoration was not floral, it was
mythological or historical, such motives also marked
the decoration of the K'ang-hsi era, though a greater
range was afforded by the reproductions of brocaded
silks, which were copied on porcelain at that period,
and landscape painting was largely practised, yet
the styles remained essentiaUy the same in character
as during the Mings.

PORCELAINS WITH A BLACK GROUND
These porcelains, showing the reserved design
separately treated in light transparent and opaque
enamel colors, form a characteristic class by them
selves. This mode of decoration, originating in
China, has for centuries been apphed upon both
biscuit and other white paste. It may be noted that,
to fix the soft opaque black enamel, to cover the
ground, so that it shaU assimilate evenly, taxed the
skUl of the ceramists of early periods, for which
reason such products afford standards of exceUence
to all subsequent eras and remain unrivaUed to this
day, 46

SINGLE-COLOR SPECIMENS
Among the superlative creations of Chinese
ceramists (aside from decorated porcelains), mono
chrome types have figured with considerable distinc
tion from remote periods to the present day. In a
general way, it may be gathered from early records
that single-colored objects antedate decorated por
celains by many centuries. The several periods cer
tainly have produced a remarkable variety of mono
chrome pieces, and of these the red-colored glazes
(derived from the oxide of copper and gold), i.e.,
sang de boeuf, the " peach-skin," or peau de piche,
" ruby," and " rose " carmine (" yen-chi ") or rouge
d'or, are most esteemed; the other reds, which are of
the same oxide, include the " crushed strawberry "
and " Uver " tints ; the reds from the oxide of iron in
clude the coral and varying shades of vermiUon.
The so-caUed " soUd-color pieces " include, aside
from the various white tints, " robin's-egg blue,"
" pearl," " lavender," " duck-egg blue," " moon
hght " or clair-de-lune," sapphire-blue," bleu fouette
or " powder-blue " souffle, " Mazarin blue," " lapis-
blue " glaze, sang de boeuf, sang de pigeon, " crushed
strawberry," " Uver tints," " carnelian-red," " ruby,"
" salamander-red " souffle (which is Uke coral-red
from oxide of iron), "apple-green," "pistachio
green," " cameUia-leaf green," " cucumber-green,"
haricot vert, " oUve-green," " iron-rust," or " t'ieh-
siu " (with smaU black metalUc specks, or with a
metalUc lustre), "tea-leaf," "tea-dust," or "ch'a-
mo " (flecked with hght spots, or souffle), "olive,"
47

" magenta," " violet," " plum color," or " aubergine-
purple " (from manganese), and cafe au lait and
other crackle glazes.
The turquoise-blue glaze is another character
istic color produced by the Chinese in very early
periods, with a great range in its different shades
and quality. The darkest tones with uniform color
are the most esteemed, and particularly those with
the shad or " fish-roe " crackle (although there are
some light and very beautiful shades without crackle
on the smaUer objects), attributed to the period of
K'ang-hsi, The black-enameUed pieces, usuaUy termed " mir
ror black " on account of their very briUiant and
even surface, are noteworthy, especiaUy those pro
duced during the K'ang-hsi period, that show great
iridescence, sometimes resembling the soft black
sheen of the raven's plumage, and therefore termed
" raven's-wing " black. This iridescence is found
only in smaU specimens, and when of perfectly uni
form quaUty is most treasured.
Other black enamels have been produced of me
talUc and more or less oUy surface, which are rare, and
date back to more remote periods, and these gener
aUy have a dense body substance with less kaohn
than the black-enamelled porcelains of later periods.
The so-caUed " imperial yellow " is among the
most popularly known of the yellow variety of glazes.
Its color resembles very much the yolk of an egg,
and is without crackle. The " mustard-yeUow " is
a heavy enamel color, with a fine network of crackle;
in the finer examples an iridescence is noticed, to
gether with a porcelain of Ughter substance, and a
48

brown metaUic-colored edge, while in aU later ex
amples the paste and glaze are both heavy and coarse.
Several kinds of Ught yeUow-glazed porcelains,
with transparency, were produced in the K'ang-hsi
and the later periods, having a fine, even quaUty
without crackle, and usuaUy found upon a fine white
paste, the finer examples being almost as thin as
egg-sheU. Among these may be noted the canary
and citron or lemon-yellow, a straw color, and a sort
of sulphur-tinted glaze.
The celadon green color (known also as Marta
bani) is the oldest of aU the green glazes extant; re
ferred to in the earliest Chinese periods of ceramic
art, and especially as predominating in the T'ang
dynasty, as also later during the Sungs, Produced
in different factories, it also varies in tints and quaU
ties of glaze as in paste. The oldest pale green
glazed porcelain or celadon, perhaps, existing to
day is the product known as " Chiin-chou-yao " and
" Ko-yao " of the Sung dynasty. WhUe " Jii-yao,"
or " Kuan-yao," is the oldest celadon known in his
tory, it is doubtful if any specimens exist to-day.
" Lung-ch'uan-yao," another celadon, was shipped
largely to India and Persia, where it was known as
" Martabani." It was fibrst known in France during the seven
teenth century, and there it received its name celadon.
Among the green variety in soUd colors, the so-
caUed " apple-green " (Lu Lang-yao), with a trans
lucent vitreous glaze and a brown crackle, is of the
rarest. The body-paste is usuaUy of the same tex
ture as that on the red of " Lang " porcelains, and
therefore it has been assumed by authorities that
49

this green color was produced at the same period
with the red, and also under the direction of Lang-
Ting-so ; especiaUy as these colors are enumerated
among glazes in the records of Ching-te-chen.
Other varieties of green-tinted glazes have been
produced at various periods, but none so distin
guished as the so-caUed " apple-green," with its
strongly marked brown crackle.
The so-called flambe variety, a distinct class by
Itself, commonly termed " splashed " or " transmu
tation," and called in China " Yao-pien," is said to
have been first an accidental product, although in
later periods produced at wiU, Of this latter type
there exist some beautiful examples which may be
attributed to earUer periods. They have been fuUy
described in several works on the subject by Dr,
BusheU, Monkhouse, Jacquemart, and others.
Among the variegated glazes we may also note
a kind of marbleized effect of several colors and a
kind of souffle, known as " harlequin " porcelain;
composed of several colors disposed over the sur
faces in clouded effects. Other glazes of Ts'ing
porcelain imitate iron, bronze, wood, ivory, agate,
etc, etc.

COLOR OF OX-BLOOD (LANG-YAO)
The red-colored glaze known as sang de boeuf,
was doubtless first produced under the Mings, and
at a period when the paste was not purely kaolinic.
The reason for this hypothesis is the fact that bril
liant red glazes are often referred to which were
not always from iron; and that even in later periods,
50

when the paste became whiter and purer by kaoUn,
the potters would nevertheless endeavor to simulate
the more ancient product by using a more gritty
body substance.
While the variety of red glazes is very great, the
rare sang de boeuf examples now known by the
coUectors more generaUy as " Lang-yao " (the
Chinese term) may be said to be out of the market.
The best are about exhausted in China, for where it
was possible the native owners have long since been
induced to part with such treasures by remarkable
and tempting offers from European and American
agents. This type of red is doubtless the most
beautiful as weU as technicaUy of the highest per
fection; it is named after the famous potter Lang-
Ting-so, who was a director of the imperial factory
at Ching-te-chen under the Emperor K'ang-hsi,
A few of the distinct characteristics may be con
veyed in words and identified with examples in the
present collection.
The true sang de boeuf of Lang-yao is with
out a tinge of purple; the color may shade to a
brownish-red, or a tinge Uke that of old sherry wine.
Fine pieces are curiously modeUed with deeper tones
and always very transparent, with a glaze inclined
to be crackled, soft and oily to the touch.
A certain characteristic of the true " Lang-yao "
is the correct Une finished at the base, showing the
white foundation color, glazed and without any
signs of grinding off; the same remark applies to
the upper rim, which is usuaUy distinguished by a
clean glaze ; either an ivory tint or a crackled celadon
is clearly defined at the edge. 51

To produce this color the glaze must be melted
in firing to a perfect fluidity. Potters usuaUy can
not prevent it from running, so that the neck is often
thin and streaked, with the overrunning glaze at the
foot in the form of drops, or even large masses,
that must be broken off in removing the object from
the kiln, making it necessary to grind the foot
down evenly, and this is never the case with the chefs
d'oeuvre under consideration here.
It should also be stated that the true pieces of
" Lang-yao " {sang de boeuf) are usuaUy glazed
on the interior as well as underneath the foot in a
greenish tint, like a light celadon, or a crackled rice-
colored glaze. The most remarkable pieces wUl be
found to have possibly a dash of red on the interior
or underneath, with the pale celadon and crackle
glazing.

PEAU DE PECHE
The so-called " peach-bloom " glaze is the rarest
of the red varieties. True specimens of this class are
smaU and of uniformly high character, in the purest
and best quality of paste, perfect glazing, and of
singularly attractive forms. As the number of
these beautiful examples is most hmited, it is pos
sible that they were made for the palace by some
particular potter who alone had the secret or skUl of
producing this glaze. All the authentic pieces bear
the characteristic six-character marks (in fine blue
under the glaze) of the K'ang-hsi period in unique
perfection. All later reproductions are readily dis-
52

tinguishable, and in aU particulars — glaze, paste,
and form — as also by the imperfection of the marks.
Some otherwise able writers have concluded that
the so-caUed "peach-bloom" was an "over-fire"
accident when glazes intended for the sang de boeuf
varieties had been used, but it may be proved that
these writers could have seen but few real specimens
of the former color. The shapes in the sang de boeuf
variety are totally distinct, just as the forms are
distinct in the " peach-bloom " glazes ; therefore an
accidental result in firing is out of the question with
regard to this particular color.

EARLY SPECIMENS
The group of primitive pieces includes some
rare types which are ascribed to the dynasty of Han
(b,c, 202 — ^A,D. 220), while others may be attributed
or belong to periods and provinces of China where
the manufacture of porcelain has long been obsolete,
consequently their exact date of production remains
a mooted question. However, since these classic ob
jects from China have been absorbed by museums,
and figure in the most noted coUections in Europe
and America to-day, they have awakened a keen in
terest everywhere, WhUe such examples were repro
duced during the Mings and also in later periods, it
is possible that some of the particular pieces here
imder our view can be placed as belonging to the
transitory era of Yiian and the Ming dynasties, and
they also may have been inspired by more ancient ex
amples in their turn. 58

The examples of this class are always glazed on
the biscuit before the colors are fixed by a second
firing, and generaUy the biscuit shows through the
glaze here and there in various ways, according to
thicknesses of such glazing, whether by accident or
intention, or also owing to the disintegration of the
glaze itself and prevaUing conditions of usage; but
generaUy the paste shows in such objects to have less
kaolin than later porcelain.
The embeUishments, which are modeUed in low
relief, perforated or engraved, afford outlines for
the different enamel colors, among which may be
particularly noted a deep lapis-blue shading into
purple or violet, a manganese color resembling the
color of plum skin or aubergine; the amber yeUow,
and a turquoise color, all varying with epochs of
production, A few striking examples of the former class are
shown in this collection, that were unearthed in re
cent years from tombs, and are attributed by native
experts to the Han dynasty (b,c. 206 — ^a.d, 220),
The rehef ornamentation on one example shows
a band worked in the paste, involving mythological
figures riding on dragons, with drawn bows in their
hands in pursuit of tigers ; in grotesque and archaic
outline, and in the style of sculptured stone or bricks
of the Han dynasty, known to be genuine reUcs of
that epoch. This green enameUed ware of the Han
dynasty is, however, not porcelain, but pottery, as
the body lacks whiteness and translucency, although
it may be noted that the paste is compact and vitri
fied to a degree.

54

SUMMARY OF DATES
MOST NOTABLE DYNASTIES AND PERIODS
Han Dynasty  B.C. 202— a.d, 220
Wei Dynasty  a,d, 221—265
Chin Dynasty  a,d. 266—419
* * *
Sui Dynasty  a.d. 581 — 617
Tang Dynasty  a.d. 618—906
* * «
Chou Dynasty  a.d. 954 — 959
Sung Dynasty  a.d, 960 — 1259
Yiian Dynasty  a.d, 1260 — 1349
? * *
Ming Dynasty:
Period of Yung-lo  a,d, 1403 — 1424
Period of Hsiian-te  a.d. 1425 — 1435
Period of Cheng-hua  a.d. 1465—1487
Period of Hung-Chih  a.d. 1488—1505
Period of Ch'eng-te  a.d. 1506—1521
Period of Wan-li  a.d, 1573—1629
Ch'ing Dynasty:
Period of K'ang-hsi  a.d, 1662—1722
Period of Yung-cheng  a.d, 1723 — 1735
Period of Oh'ien-lung  a.d, 1736—1795
Period of Chia-Ch'ing  a.d. 1796—1820
*** Intervals of posterior or short dynasties.

55

CATALOGUE 1
TWO SMALL BOWLS, Rice-grained porcelain,
showing the fine tracery of scroUs pierced in the
body of paste and glazed over with thin white.
Period of K'ang-hsi. 2
CABINET VASE, Oviform, with bulbous neck.
Soft paste porcelain, of egg-sheU texture.
The embellishment is slightly raised and embodied under
the glazing and shows the imperial dragon and Feng-huang
disporting amid decorative nebulae and emblem forms. A
rare example of the famed porcelain, Fen-ting-yao.
K'ang-hsi.Height, 14 inches. 3
PILGRIM BOTTLE. Ting-yao porcelain of fine
soft texture.
Showing a dragon decoration embodied in the paste and
slightly raised amid ornamental cloud and nebulas forms.
The sides and base sustain incised fret bands.
Ming Dynasty.
Height, 14 inches. 57

4
WHITE MING BOWL, Ancient conical form,
with metal rim, T'o-tai egg-sheU porcelain.
Showing an incised lotus and chrysanthemum decoration
under a pellucid rice-colored glazing.
Period of Yung-lo (1403-1424), 5
ANOTHER SIMILAR BOWL. Transparent
white (T'o-tai) egg-sheU porcelain.
With a profuse floral embellishment embodied in the
paste under the white glazing.
Period of Yung-lo, 6
SMALL VASE {bUnc de Chine). Of graceful
form.
Fine white glazed " Fen-ting " porcelain, with metal
upper rim,
Yung-chSng, '"  — — '
Height, 4^/^ inches, 7
WHITE CABINET VASE. Ovoid form. Fine
Ch'ing porcelain.
Showing an incised embellishment under the pellucid
glazing.
Lent by Mr. W. C. O.
Yung-cheng. Height, 6 inches. 58

8
WHITE VASE. Globular shape, with smaU neck.
Pure white textured Ch'ing paste, with a faint engraved
design under the glaze.
Lent by Mr. W. C. O.
Height, 8 inches. 9
WHITE OVOID VASE, Showing deUcate en
graved designs in conventional cloud forms under
the perfect glazing.

Lent by Mr. W. C. O.

Period of Ch'ien-lung.
Height, 9 inches.

10
WHITE BEAKER. Carnet form. Semi-egg-
sheU porcelain.
With raised ornamentation embodied in the paste under
a pellucid white glazing. Lent by Mr. W. C. O.
Height, 16 inches. 11
TALL WHITE VASE, Graceful balustre form.
Ch'ing egg-sheU porcelain.
With a unique raised decoration under the soft glazing
showing trees, flowers and animals with short horns like those
of a ram. Lent by Mr. W. C. O.
Yung-cheng. Height, 17 inches. 69

12
PAIR OF "RICE-GRAIN" VASES. Ovoid
shape. Ch'ing egg-sheU porcelain of rare tex
ture.
The design represents the so-caUed " lace pattern " porce
lain in unusual perfection.
The pierced floral design is filled in with the white trans
parent glaze, giving the eff'ect of " lace work." Lent by Mr. W. C. 0.
Ch'ien-lung.
Height, 9 inches. 13
WHITE CABINET VASE, Oviform, Soft
paste (Fen-ting) porcelain.
Of rare texture and perfect glazing. Lent by Mr. W. C. 0.
Period of Ch'ien-lung.
Height, 12 inches. 14
WHITE CABINET VASE, Pear shape, with
everted neck.
Rare quality of soft paste (Fuchien porcelain), showing
an incised decoration in dehcate emblematic design under the
beautiful creamy-white glazing. Lent by Mr. W. C. 0.
Yung-cheng.Height, 13 inches. 15
SUNG VASE, Amphora form, with dragon
handles.Rice-color glaze. Unique example of the Sung dynasty,
A.D. 960—1259.
Height, 18 inches. 60

16
TWO SMALL WHITE CUPS, with delicate
pierced and raised work in floral and geometrical
designs.
Period of K'ang-hsi. 17
TALL VASE. White mandarin form.
Dragons incised under the glaze.
K'ang-hsi.Height, 18 inches. 18
SMALL BEAKER, Graceful form; white glazed
porcelain.
Teakwood stand,
Ch'ien-lung.
Height, 6% inches. 19
SMALL BOTTLE. Pear shape, with incised
dragon. Ivory white glaze (Fuchien porcelain).
Teakwood stand.
Yung-cheng.Height, 8% inches, 20
CABINET VASE. Fuchien porcelain. Ivory
tone glaze, with trumpet neck.
Teakwood stand.
Seal mark of Yung-cheng.
Height, 8 inches. 61

21
BOTTLE, Cabinet size. White glaze, FoUated
design.
Teakwood stand.
K'ang-hsi.Height, 9 inches. 22
SMALL BOTTLE. White glaze (Ting-yao),
Teakwood stand.
Showing an apocryphal mark, but the example is at
tributed to the period of K'ang-hsi.
Height, 4% inches, 28
CABINET VASE. Beaker form, Fuchien por
celain in ivory white glaze,
Teakwood stand,
K'ang-hsi,Height, 6% inches.

24
LARGE COUPE (rice grained) . Globular shape,
white egg-sheU porcelain of Ch'ing.
The pierced design in geometric and floral form, like
" grains of rice," and filled in with the translucent white
glazing. Lent by Mr. M. J. P.
Period of Yung-cheng.
Height, 4% inches.
Diameter, 8 inches. 62

25
TALL BEAKER, with raised floral design m
white, reUeved with circular medalUons showing
blue dragons.
Period of K'ang-hsi.
Height, 18 inches, 26
PAIR OF VASES. Cabinet size. Graceful ovi
form.
With small Uon-head (rudimentary) handles decorated
with scalloped archaic bands at shoulder and neck ; a nar
row Ling-chih border finishes the base. The underneath foot
bears the ring mark of K'ang-hsi.
Height, 9% inches. 27
TALL CUP. Blue and white hawthorn. Design
of peUucid quaUty.
K'ang-hsi. 28
LARGE COUPE. Globular shape. Fine tex
tured porcelain.
Decorated in cobalt blue under a brilliant glazing.
The motive presents the " tiger-lily " pattern, in beauti
ful scrolled rinceau and arabesque, together with the blossom
of the Eastern lotus. The foot bears an apocryphal mark of
the Mings, but is attributed to the era of K'ang-hsi.
Diameter, 7% inches.
Height, 6% ipches, 63

29
TOWERING PAGODAS (pair). Hexagonal,
consisting of six stories, with base elevation, a
chef d'oeuvre in Ch'ing porcelain.
Decorated in cobalt blue under the glaze, each tier finished
with balustrades and reticulated panel work ; blue decoration
and gilt bell knobs.
The raised base-story shows landscapes, pomegranates,
guard vines and flowers in deep blue.
Period of Ch'ien-lung.
Height, 5 feet. 30
TALL VASE. Cylindric form, or so-caUed club
shape.
Fine white textured Ch'ing porcelain, decorated in deep
cobalt blue under a perfect glazing, showing the three (San-
Hsing) star gods of the Taoist cult — ^notably, he of " Lon
gevity," the second of " Happiness " and the third of
" Rank " — attended by boys bearing attributes or emblems
of the respective immortals. The accessories of landscape are
vigorously painted.
Period of K'ang-hsi.
Height, 18 inches. 31
TALL VASE, Cylindric shape, with attenuated
neck. Pure white porcelain of Ch'ing.
Decorated in deep cobalt blue under a briUiant glaze. A
landscape is presented, with lake and distant hills; two deer
are seen in the path of the foreground, and two cranes are
64

seen flying under the pine tree branches. The deep vibrating
quaUty of the blue gives this specimen much distinction.
The neck is encircled by various ring bands in blue against
the peUucid white body color.
Period of K'ang-hsi.
Height, 17% inches.

82
TALL VASE (club shape). Pure white textured
Ch'ien porcelain.
Decorated in deep cobalt blue under a lustrous and per
fect glazing; two beautifuUy drawn representations of
dragon forms appear amidst conventional nebulae in pursuit
of the jewel of omnipotence above the wave crests of a tur
bulent sea.
The neck is encircled by various bands of key fret and
narrow vermiculated forms.
Period of K'ang-hsi.
Height, 17 inches.

GARNITURE OF FIVE PIECES
33
THREE SMALL JARS. Ovoid forms, with
covers. Fine textured porcelain.
Decorated in cobalt blue under a perfect glazing.
The design consists of long panels showing mountainous
landscapes with alternate sustaining flowers on a pellucid
white ground.
K'ang-hsi.Height, 10 inches. 65

34
TWO BEAKERS, Companion pieces to pre
ceding.
K'ang-hsi. Height, 10 inches. 35
THREE CABINET VASES, cyUndrical form,
with attenuated neck. Fine hard-textured porce
lain, decorated in cobalt blue under a peUucid
glazing.
The design displays numerous bands, several of which
are painted in blue rinceau and scroUed arabesques, on a
white ground; two other bands show a fine clear vibrating
blue ground with the designs in reserve; notably, the wide
middle band, on which dragons or Mangs (designated as
" dragon on band " pattern) are represented with conven
tionalized flames or nebulae.
The four foliated panels, near shoulder, show white ara
besques, centered with smaU lotus flowers.
A chevron border surrounds both shoulder and base, and
the neck is encircled by pahn leaves with penciUed stems, the
remaining portion of neck is white, two simple Unes finish the
under side of rim.
Ascribable to the period of K'ang-hsi (1662-1722).
Height, 11 inches. 86
TWO SMALL COVERED VASES. Slender
ovoid form, with low cover. Fine textured hard
paste porcelain, decorated in briUiant cobalt blue
under a perfect glazing.
The design presents a conventional feather or fern scroll,
involving small emblematic seals, formed by double lancet or
66

fungus tips, an ancient detail found on smaU rare objects
of high quality.
Cover is similarly decorated.
The foot bears leaf mark.
Period of K'ang-hsi.
Height, 6 inches.

37
TALL BOTTLES (set of three) . Pyriform, with
long, slender neck. Fine hard-paste porcelain of
pure white texture.
The cobalt-blue decorations, under a brilliant and per
fect glazing, presents two grotesque forms of the dragon
or Mang, surrounded by nebulse, conventional flames and floral
sprays. The tubular neck is encircled by ring-bands of various
designs, including a palmation and small arabesque border.
The base is finished by a bordering of lotus leaves with
a second border of arabesque forms as above.
The sunken foot bears a blue leaf mark.
Period of K'ang-hsi.
Height, 9% inches.
88
TALL BOTTLES (pair). Globular body, with
long, slender neck. Fine white hard-textured
porcelain. Decorated in brilUant cobalt blue
under a perfect glazing of the seventeenth cen
tury. The design presents three dogs of Fo (Tai-shih) ir
playful pose sporting with the globular formed emblem termed
" Chu " (shown with a flowered diaper design to resemble em
broidery), tied with looped fillet or cord-like device connecting
the eight precious objects of Taoism, 67

The neck is encircled by the archaic form of a dragon
(Mang), and the shoulder carries a narrow band of honey
comb fret interrupted with four peony medaUions.
Foot bears a ring mark.
Period of K'ang-hsi,
Height, 18 inches, 39
BLUE AND WHITE BOTTLE, cabinet size,
pear shape, with smaU neck. Fine white textured
porcelain in the perfect glazing and peUucid
color.
The blue decoration under the glaze is in two distinct
shades of cobalt, and represents a combination of the so-
caUed " Lace " and " Vandyke pattern," or escaUoped out
lines, bordering enclosing arabesque and floral forms, in rare
quaUty, the central band including four f oUated and con
nected medaUions involving arabesque blossoms of the lotus.
The neck is encircled by smaU medaUions with arabesque
ornament, A narrow chevron fret finishes the rim and base aUke.
Period of K'ang-hsi.
Height, 7 inches. 40
GINGER JAR, " Hawthorn," perfect ovoid form,
with dome-shaped cover. Hard paste of the
purest white texture, the precious cobalt blue
(with particular charm in its variations and mot
tling under the brilliant glazing) is imposed in
a masterly perfection only ascribable to the
seventeenth century.
The design consists of various branches and twigs of the
68

wild plum tree, known in China as " Mei-hwa," with the bud
and blossom-bearing branches that spread alternately down
ward from the neck and upward from the base, with the stems
and well-rounded flowering blossoms in white reserve upon
the cumulus undulating blue ground, pencilled over with a
form of reticulations in darker blue to represent the fissures
of broken ice (a symbol of approaching Spring).
The rim at neck is finished by a smaU dental band, usuaUy
noted on rare examples.
Period of K'ang-hsi.
Height, 10 inches.
Note. — These so-called "hawthorn" jars are remarkable for the
richness and depth of the blue color, which is seldom found on other
blue and white objects. The clear and full azure blue bordering on
the color of a fine sapphire is easily recognizable from later products.

41
CABINET BOTTLE, Fine form. Semi-egg-
sheU porcelain.
Decorated in deep cobalt blue, representing a strongly
drawn dragon amid cloud forms, posed on the peUucid white
body and under a perfect glazing of the period. Lent by Mr. M. J. P.
K'ang-hsi.
Height, 15% inches.
42
LARGE VASE. CyUndrical form, with attenu
ated neck. BriUiant white textured porcelain.
Decorated in cobalt blue under a pellucid and perfect
glazing, with flowering trees of the Prunus (Mei) and peonies
69

growing from amidst rocks and freely dispersed over the
white body of vase, including a large pheasant.
The neck shows various ring bands ; frets and " Ling-
chih." Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 29 inches.

43
CABINET VASE, gourd shape. Soft paste porce
lain of Ch'ing, decorated in blue cobalt under a
perfect and peUucid glaze.
The design presents a series of bands, notably, an ara
besque rinceau border at the base, which is repeated at the
neck; other borders consists of key frets, and palm leaves,
with a dental band encircUng the depressed centre.
The underneath foot bears a haU mark.

Era of K'ang-hsi.
Height, 6% inches.

44
LARGE PLAQUE. Fine hard textured porcelain
of Ch'ing, decorated in deep cobalt blue under a
briUiant and perfect glazing of the seventeenth
century.The design shows a rinceau motive involving the symbohc
lotiis blossoms amid scrolled stems and conventional forms
of foliage.
Period of K'ang-hsi.
Diameter, 14 inches. 70

45
CONFECTION BOX, circular shape, with cover.
Soft paste porcelain.
Decorated with an archaic border ornamentation in
deep cobalt blue under a soft and perfect glazing showing a
superficial network of crackle.
Later period of K'ang-hsi.
Diameter, 5 inches. 46
CABINET VASE, gourd shape. White hard
paste porcelain of Ming, decorated deep cobalt
blue under a soft peUucid glaze,
A characteristic rinceau motive is presented with scrolling
stems and conventional forms of arabesque and foliage, to
gether with the blossoms of the emblematic lotus.
Period of Chia-Ch'ing (1522-1566).
Height, 8 inches. 47
TALL BEAKER, cornet form, with everted neck
and base. Fine hard textured porcelain, deco
rated in cobalt blue under a brilUant glazing of
the seventeenth century.
The design shows large lotus blossoms dispersed amid a
rinceau motive of scrolled stems with arabesque and conven
tional forms of foUage. The central body is bordered with
various bands of key fret and narrow vermiculated design.
The underneath foot bears an apocryphal mark in six
characters of the Ming dynasty, and period of Chia-Ch'ing
(1522-1566). This specimen is ascribed to K'ang-hsi. ,
Height, 19 inches. 71

48
TALL VASE, oviform, with everted neck. Fine
textured porcelain.
The design displays various foUated medalUons separ
ately painted in blue, with dragons and carps ; posed amid a
rinceau motive, involving lotus blossoms and arabesque forms.
Period of K'ang-hsi.
Height, 18 inches. 49
CABINET BOTTLE (blue hawthorn). Fine
white textured porcelain of Ch'ing, the seven
teenth century.
The various branches, filled with blossoms of the wild
prune (mei-hwa) tree, cover the entire surface of the bottle
in free and weU dispersed design ; both branches and blossoms
are reserved in white upon a mottled and cumulus blue ground
under a brilliant and perfect glazing. A remarkable and
rare specimen; its equal is shown in the Salting coUection
(South Kensington Museum). Lent by Mr. M. J. P.
Period of K'ang-hsi,
Height, 16% inches,
GARNITURE OF FIVE PIECES
50
THREE TALL JARS, ovoid form, with original
covers. Fine white hard textured Ts'ing porce
lain, invested with an elaborate cobalt blue de
sign under a faultless and briUiant glazing of the
seventeenth centurv.
The decoration presents a series of four large panels,
72

displaying blossoms of the wild plum (mei) tree, growing
amid rocks (alternately), others showing a formal basket of
flowers ; these panels are separated by vertical bands in blue
with white " coin " diaper.
The shoulder and base sustaining an over-lapping lambre
quin bordering of escaUoped or lanceolated outlines, enclosing
lotus flowers and arabesque, alternately with (po-ku) gift
objects. The low dome shape cover sustains a similar decoration,
and showing the escaUoped bordering with lotus medalUons.
The base is finished by lotus leaves bordering.
These jars show a blue ring underneath the foot.
Period of K'ang-hsi.
Height, 21 inches. 51
TWO TALL BEAKERS, with low covers to
match. Similar decorations, and companions to
preceding. 52
TALL BEAKER, oviform body, with long, flar
ing neck. Fine textured white porcelain, painted
in deep blue under a perfect glazing of the Ch'ing
dynasty.The design presents magnoUa (Yulan) trees with the
white flowering blossoms modeUed and in slight relief against
the briUiant vibrating blue color of the background of clouds ;
the trees are shown springing up from amid open rockeries,
with the rocks picked out in Ught celadon green glaze.
The foot bears a leaf mark.
Period of K'ang-hsi.
Height, 17 inches, 73

53
TALL JAR, with cover. Fine hard textured por
celain painted in deep shades of cobalt blue.
The so-called " Lang-Lysen " subject is presented by a
series of panels, showing the formal figures of Chinese ladies
in graceful, flowing robes, variously engaged in domestic
scenes, musical accomplishment, and the companionship of
children; disposed upon the slightly raised panels in the
form of lotus petals that are arranged in three tiers above
one another, regularly spaced by blue outUnes around the
body of the vase, the figure panels alternating with those hold
ing flowering plants, jardinieres and stands, the intersecting
space above panels being fiUed in with flowering sprays in
conventional form.
Both the shoulder and base are finished with a lotus
flowered fret.
Period of K'ang-hsi.
Height, 20 inches.

54
SMALL JAR-SHAPE VASES (pan-), oviform,
with porcelain covers to match. Fine hard paste
porcelain, painted in deep cobalt blue on white
body, showing brilliantly under the perfect trans
lucent glazing.
The motive presents a series of sUghtly raised lotus-
petaUed panels arranged in two distinct tiers and outUned
in blue, separately embeUished with figures ^ of the " Lang-
' The arrangement of flowers centuries ago was considered an ac
complishment for ladies of rank, and the motive on these vases has a
reference to tliis subject. 74

Lysen " type, alternately with sprays of flowers with figure
subject predominant.
The foot bears double rings and the character " Yii."
(Precious as jade).
Period of K'ang-hsi.
Height, 8 inches.

55
SMALL VASE, beaker-shaped, slender. Fine
hard textured porcelain, painted in deep cobalt
blue against the white ground, with perfect
glazing. The design presents a series of lotus-petalled panels in
sUght relief outlined in blue, and arranged in tiers, embel
lished with figure subjects, " Lang-Lysen " type or ladies of
rank holding flowers, which alternate with floral panels.
The foot bears a single character " Yii " enclosed in
double rings, signifying an object precious as jade.
Period of K'ang-hsi.
Height, 9 inches.

56
TALL VASE, balustre shape. Fine textured hard
paste porcelain, painted in deep cobalt blue upon
the white body, in uniform quality and under per
fect glazing.
The design presents a series of sUghtly raised panels
showing Chinese ladies in graceful, flowing robes (known as
75

" Lang-Lysen " ^), variously engaged; the companionship of
a child, and others showing the same figures with musical and
flower accomplishments. The foUated panels are in lotus
petal form, and arranged in three tiers, formaUy spaced and
outUned in blue around body of vase; the figure panels
alternating with those showing flowering plants, jardinieres
and stands.
The neck displaying sprays of peony blossoms.
The shoulder is encircled by a fret band.
Foot bears a leaf mark.
Period of K'ang-hsi.
Height, 17 inches.

57
TALL VASE, gourd shape. Fine white hard paste
porcelain, decorated in brUUant and deep cobalt
blue under a faultless glazing of the seventeenth
century.
The painting displays the so-caUed " tiger Uly " design;
a rinceau motive of scroUed stems and arabesque forms with
the full blossoms of Eastem lotus, convention aUzed and
shown dispersed over the field of waving stems and decorative
foUage, The neck is surrounded by a lotus leaf bordering, together
with a smaU chevron fret.
The underneath foot bears a Ming mark in four char
acters, " Hsiien-te-Nien-chih " (apocryphal).
Ascribed to the period of K'ang-hsi,
Height, 18 inches,
' The appellation " Lang-Lysen " was first given in Holland to ob-
jects from Ctiina with this design on account of the long slender figures,
and under tMs term or " Long Elizas " they are now generally known in
England and America. 76

58
TALL BEAKER, cyUndrical body, with everted
base and neck. Fine white porcelain, decorated
in deep blue made briUiant under a perfect glaz
ing of the seventeenth century.
The rinceau design consists of scroUed stems and ara
besque forms, with the Eastern lotus conventionalized and
shown dispersed over the waving stems and other ornamental
forms, divided by key fret and vermiculated bands at the
shoulder and lower section of the body.
The underneath foot bears the apocryphal Ming mark of
Ch'eng-hua, this specimen may however, be ascribed to the
Period of K'ang-hsi,
Height, 19 inches.
BLUE AND WHITE SET OF THREE
PIECES 59
TALL JARS, ovoid, with dome-shape covers. Fine
hard textured Ts'ing porcelain, invested with an
intricate decoration in deep cobalt blue under a
brilUant glazing of the seventeenth century.
The design sustains a series of four panels that hold
alternately precious objects (known as " Po-ku") and land
scapes in which the rock forms show the vibrating quaUties
of the blue to advantage. These panels are separated by ver
tical bands with (coin) emblem diaper forms in white on the
blue ground.
The shoulder and base are both finished aUke, and show
wide over-lapping escaUoped border with lanceolated outlines
enclosing arabesque forms or so-called " lace pattern."
77

The covers sustains an escallop and panel design to
match jar.
Underneath foot bears a ring mark.
Era, K'ang-hsi.
Height, 14 inches.

60
TALL VASE, carnet form. Companion to fore
going. Decoration matching jars above, and
completing the trio.
Height, 14 inches.

GARNITURE OF FIVE PIECES
61
THREE TALL JARS, oviform, with covers.
Fine hard textured Ch'ing porcelain, painted in
deep cobalt blue under the brilUant glaze.
The design displays a series of four slightly raised panels
with foliated ends, sustaining floral subjects and birds in deep
blue outline and surrounded by vertical bands with pale blue
arabesque ornaments posed on the white field.
The shoulder carrying a wide escaUoped bordering in
lanceolated outUne, and enclosing floral arabesque known as
" Vandyke pattern."
The neck is encircled by a flowered rinceau design, and
the foot is finished by two narrow bands in fret and con
ventional arabesque.
Covers with esfcalloped edge bear landscape medalUons.
Late K'ang-hsi.
Height, 21 inches. 78

62
TWO TALL VASES. Companions to foregoing.
Pear-shaped body, with long, everted neck.
Height, 18 inches. 63
TALL MING BOTTLE, pyriform, with slender
neck. Massive Chia-Ch'ing porcelain, decorated
in deep " Mohammedan " blue under an unctuous
glaze of the sixteenth century.
The painted motive presents a series of ornamental bands
in arabesque, emblematic, lanceolated and other forms. The
decoration is also distinguished by four ancient and mystical
marks and devices formally posed near the four circular
medaUions showing rabbits and flowering plants; notably,
the chrysanthemum and peonies together with symbolic
fungus or forms of Ling-chih.
The upper part of neck is surrounded by lotus leaves.
Period of Chia-Ch'ing 1522-1566. Ming dynasty.
Height, 2314 inches.
SMALL GARNITURE OF FIVE
PIECES 64
THREE JARS, ovoid form, with covers. Fine
textured hard paste Ts'ing porcelain of brUUant
quaUty.
The cobalt blue painting under the glaze shows the so-
caUed lace pattern, in the form of an escaUoped outline filled
in with arabesque and set against the white body, and bor
dering alike both shoulder and foot, in deep shades of blue ;
79

various floral blossoms are displayed formaUy posed between
the lancet points and centering the white ground.
Narrow bands in leaf form finish the neck and foot.
Period of K'ang-hsi.
Height, 10% inches. 65
TWO BEAKERS (similarly decorated) are com
panions to the above three jars, and complete the
garniture.
Height, 101/2 inches. 66
TALL BEAKER, oviform body, with flarmg neck.
Fine white textured porcelain, painted in two distinct
shades of blue, a pure cobalt and a half -toned color, showing
the plum blossom (mei) tree growing amid open rock forms
on both body and neck alike. The design of blossoming buds
and stems is modelled into the paste, and in sUght reUef
stands out distinctly from the cumulus blue painted back
ground in which they are enveloped as by clouds.
The foot bears a ring mark.
Era, K'ang-hsi.
Height, 18% inches.
67
TALL VASE, graceful oviform, with smaU everted
neck, BriUiant and fine textured porcelain
(Ts'ing-yao) invested with deep blue decoration
under a clear and perfect glazing of the seven
teenth century.
The motive shows a pair of blue dragons (with four
80

claws) traversing the space amid smaU conventional forms of
nebulse, over turbulent waves and peaked forms of rock.
The dragons are carefuUy rendered by a masterly and deU
cate touch, and the vitaUty of the blue painting is heightened
by the penciUed outUnes of design with darker shades of blue
for the scales and bodies of the dragons.
The white neck is encircled by the usual ring bands and
row of dotted points, noted on rare specimens.
Foot bears a double ring mark.
Era of K'ang-hsi.
Height, 19 inches.

68
TALL HAWTHORN JAR, oviform with beU-
shaped cover (also known as a Temple Jar).
Fine white hard-textured porcelain of the seven
teenth century, sustaining a brilUant dark cobalt
blue color under the glaze, imposed with special
care for variations and mottUng under a perfect
glazing.
The so-called hawthorn design shows the branches and
twigs of the plum tree (Mei-hwa) alternately spreading down
ward from the neck and upward from the base, bearing
numerous buds and blossoms with weU-rounded outline against
the vibrating background of peUucid blue, penciUed over with
crossings in a darker shade of blue to represent breaks or
cracking ice, an indication of coming Spring.
The jar, with its original cover, is a representative type
of rare quaUty.
Period of K'ang-hsi.
Height, 17 inches.

81

69
WINE BOTTLES (pair), ancient form, with por
celain Ud, spout and handle. Fine hard paste
porcelain of the seventeenth century, sustaining
an openwork embelUshment, together with a
deep blue decoration under the glaze.
The superposed outer casing on an interior soUd form
presents two sides with a free honeycombed fret reticulation
in panel form, showing the separately decorated body under
neath in blue floral design.
Two painted panels enclosing floral designs finish the
neck, and the base is encircled by a lotus leaf border.
The spout and neck display smaU sprigs of bamboo, and
a narrow band of scroll work completes the shoulder.
The dome-formed Ud is pierced and surmounted by a blue
knob. Period of K'ang-hsi.
Height, 8 inches.

70
WINE BOTTLES (pair), as above.

71
TALL BEAKER, Fine Ch'ang porcelain, with
raised floral design under the white glaze, involv
ing various medalUons, with blue landscapes and
flowers.
Period of K'ang-hsi.
Height, 19 inches. 82

72
MING JAR, oviform. Fine textured and sonorous
porcelain, decorated in deep cobalt blue, under
a peUucid glazing of the Ming dynasty. Six
teenth century.
The design is characteristic and symbolic, and presents a
trio of five clawed dragons disporting amid conventional
forms of nebulje and exhalations, together with cranes and
other birds.
The low wide neck is encircled by the dragon, Feng-
Huang, and crane.
The rim of foot is in biscuit form, and underneath bears
the full six character marks of its provenance (Ta-Ming-
Chia-Ch'ing-Nien-chih), made in the reign of Chia-Ch'ing
(1522-1566).
Height, 16% inches. 78
TALL BOTTLES (pair), pyriform, with slender,
bulbous collared neck. Fine white textured por
celain invested with a briUiant deep blue border
decoration of the seventeenth century.
The decoration includes a series of thirteen borders, one
above the other; the widest, showing a rinceau design with
arabesque, surround the body; other bands includes lotus
leaf palmation at the base, with (Ling-chih) lancet pointed
bands at the shoulder and upper rim.
The neck with its bulbous coUar showing a flowered
arabesque design and also includes a series of brocaded panels
with escaUoped and lace borderings.
The underneath foot bears a floral mark.
Period of K'ang-hsi.
Height, 16% inches. 83

74
TWO LARGE PLAQUES. ScaUoped edge,
with spiral-shaped petal forms.
Decorated in deep cobalt blue under the glaze. The
feather motive is shown evenly distributed and in scrolled
forms.Period of K'ang-hsi.
Diameter, 19 inches. 75
LARGE PLAQUE, Fine textured Ch'ien por
celain.
Decorated in deep shades of cobalt blue. A foUated com
position is presented, consisting of a series of seven floral
medaUions, including the central, which, together with the
marginal decorations, involving lotus blossoms and ara
besques, are reUeved by the white body,
K'ang-hsi.Diameter, 19 inches, 76
ANOTHER, Similar to preceding.
77
TWO LARGE PLAQUES. Fine hard paste por
celain.
Decorated in deep blue under a lustrous glaze.
The motive presents a series of radial panels, with a flow
ered central medaUion enclosing symboUc flowers and plants,
surrounded by a treUis field and arabesque bordering with
varying forms of fruit and floral designs.
K'ang-hsi.Diameter, 18% inches. 84

78
TALL VASE. Graceful ovoid shape. Fine soft
paste porcelain (Fen-ting-yao), with sUver rim
mounting.Decorated in cobalt blue under a peUucid glazing. De
picts a high-terraced garden scene with numerous personages.
The accessories show flowering plants and trees.
Lent by Mr. W. C. O,
Ch'ien-lung, Height, 20 inches, 79
ANOTHER. SimUar shape. Companion to fore
going, with sUver rim mounting.
With mountainous landscape, paviUon and figure decora
tion. Lent by Mr. W. C. O.
Period of Yimg-cheng.
Height, 17 inches, 80
BEAKER-SHAPED VASE. White Ch'ing por
celain.
Sparingly painted in blue, with mei blossoms and chrys
anthemums growing amid celadon glazed rocks.
The central band showing slender formed dragon
(mang) in deep blue over glaze enamel. Lent by Mr. W. C. O.
K'ang-hsi. Height, 18 inches, 81
TALL MING VASE, gourd shape. Massive kao-
Unic Chia-ch'ing porcelain, decorated in deep
" Mohammedan " blue under a peUucid glazing.
The bold motive shows fir and fruit trees, together with
85

deer and stork on the white body ; bordered at the shoulder
with a radial arabesque, and the base is finished by a rinceau
band. The upper section is set ofF by a scroUed vine with fruit
and foUage and shows arabesque forms of vines together with
Mohammedan characters or marks.
The top is encircled by a rinceau band.
A typical specimen of its class of the Ming dynasty
(Chia-Ch'ing, 1622-1566).
Height, 18 inches. 82
TALL MING VASE, gourd shape. Massive
Lung-ch'ien porcelain, decorated with deep co
balt blue on the white body and under a peUucid
glaze.
The painting is bold and characteristic of the sixteenth
century, and presents landscapes with vigorous old fir and
peach trees, including blossoms and flowering plants divided
in the middle by treUis bands with medaUions.
The shoulder is encircled by a radial escallop band, which
is repeated above at the neck rim.
The foot rim shows the white biscuit paste.
Period of Lung-Ch'ien (1567-1572).
Height, 18 inches. 83
TWO LARGE JARS (pair), graceful oviform,
with small neck and cover. Fine hard textured
porcelain of Ts'ing, sustaining a brilUant blue
cobalt painting under a pellucid and perfect
glazing of the seventeenth century.
The design shows a series of four vertical panels decor
ated with finely rendered peonies and birds, which alternate
86

with (mei) prune blossoms growing amid rocks and shrubs;
these panels are separated by vertical contrasting bands, with
blue ground, in treUis design. The shoulder is finished by the
over-lapping lambrequin border in lace arabesques, and a
similar motive at the foot.
The embeUishment of cover matches the j ar.
Underneath foot shows a ring mark.
Period of K'ang-hsi.
Height, 23 inches, with cover. 84
GRAND JARS (pair), taU ovoid form, with at
tenuated necks. White hard textured and mas
sive porcelain, invested with a brilUant blue deco
ration under the glaze.
The entire body is covered with a rinceau design involv
ing the Eastern lotus with its scroUing stems and foUage in
arabesque forms, together with a series of large circular
medalUons, which are held in reserve from the field, or lotus
motive, and separately decorated with pictorial subjects ; not
able among these are landscapes and figures, quaint arched
bridges, lakes with boats, fishing scenes, and hunting with
falcon and arrows.
The neck is enclosed by a long-leafed palmation, and both
shoulder and foot are encircled by a chevron band.
Period of Yung-Cheng.
Height, 37 inches. 85
TALL VASE, Oviform; egg-sheU Fen-ting por
celain.
Decorated in deep cobalt blue under a crackled glazing.
Branches of the peach and pomegranate trees are displayed
87

on the white body of vase. The shoulder sustaining a sym
bolic and tasseUed design, with conventional fret bands.
Lent by Mr. M. J. P.
Period of Yung-cheng.
Height, 18 inches. 86
TALL VASE. Graeful balustre shape; massive
hard textured porcelain decorated in " Moham
medan " blue under a perfect glazing.
The so-caUed tasseUed design is shown in rare form, to
gether with numerous borders, including a series of rinceau,
arabesque and radial-escaUoped patterns.
This object may be ascribed to one of the later periods
of the Mings, "'l^t by Mr. M. J. P.
Height, 18 inches. 87
TALL BOTTLE. Globular body, with tubular
neck. Fine white textured porcelain of Ch'ing.
Decorated in deep cobalt blue under a briUiant glazing,
showing scroUed stems and arabesques with the flowering
lotus. The motive shows the "tiger-Uly" design in rare
perfection. Lent by Mr. M, J, P.
Period of K'ang-hsi.
Height, 18 inches, 87a
TALL VASE, Balustre shape, with tiger-Uly deco
ration in blue. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 19 inches. 88

88
TALL BOTTLE. Globular body, with slender
neck. Fine white textured porcelain decorated in
deep cobalt blue under a perfect glazing.
The " tiger-lily " motive presents a rinceau pattern of
scroUed stems and arabesque forms, with the full blossoming
Eastem lotus in conventionalized form dispersed over the
field. The neck is encircled by a lotus leaf bordering.
Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 17 inches. 89
TALL VASE. Cylindrical shape, with smaU atten
uated neck. Fine white textured porcelain of
Ch'ing, invested with a lustrous and deep blue
painting under the glazing.
The decoration shows peonies and arabesque foUage re
served in white against a rich vibrating blue body color.
Both shoulder and base are bordered by escaUoped or lanceo
lated outlines enclosing floral arabesque and white medalUons,
with the neck encircled by lotus leaves. Lent by Mr, M. J. P.
Period of K'ang-hsi.
Height, 18 inches.
90
LARGE TRIPLE-GUARD VASE (blue and
white) , Fine hard textured porcelain of Ch'ing.
Decorated in deep blue under a peUucid and per
fect glaze.
The painting is very elaborate, and displays the so-called
89

" dragons on band " motives, together with floral arabesque
borders and lace-Uke lambrequins.
The dragon or mang forms are shown amidst nebulae,
and floral sprays against a vibrating blue ground. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 42 inches. 91
LARGE OVIFORM VASE, soft paste porcelain
of egg-sheU texture (Fen-ting-yao), Decorated
in deep blue under a soft wliite glazing, with
crackle surface.
The painted subject represents several monkeys playing
amidst high rocks (which are drawn in conventional forms
of ridges) and surrounded by smaU bees and bats to the
number of five (Woo-fu), emblematic of as many blessings.
Lent by Mr. M. J. P.
Yung-cheng. Height, 20 inches.
92
SOFT PASTE VASE, oviform, low neck and wide
rim. Fen-ting porcelain of egg-sheU quaUty.
Decorated in deep cobalt blue under a soft-cream glazing
with crackle surface.
A fabulous mystic lion is depicted with its young cub
under a willow and Li-chi trees.
The shoulder sustains two masks, with rings sUghtly
raised in blue under the glazing. Lent by Mr. M. J. P.
Period of Yung-cheng.
Height, 14 inches. 90

93
GINGER JAR (blue hawthorn), perfect ovoid
form, with original dome-shaped cover. Fine
grained paste of purest white texture, with the
precious cobalt-blue decoration imposed for vari
ations and mottUng; a masterly and technical
perfection of type, that is attributable only to
its ascribed period.
The design consists of various branches or twigs of
the prune tree, known in China as " mei-hwa," with the out
Unes alternately spreading from the base and neck, loaded
with numerous finely rounded buds. The blossoms and stems
are drawn with great precision in white reserve; and the
field is fiUed in by the undulating blue color, that is much en
hanced in deepness by reticulation (crossings) with darker
lines, to represent cracking ice, and symbolize the breaking
up of winter. The rim at neck is finished by a narrow dental
band that is generaUy noted on the best jars of this class.
Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 10% inches.

94
ANOTHER. Of same quality.

Lent by Mr. J. P. M.

Note. — Ginger, or so-called Hawthorn Jars, are remarkable for
the richness and depth of the blue cobalt color, which is seldom
found on other specimens of blue and wWte; the clear and fuU azure-
blue bordering on the color of fine sapphire is easUy recognizable from
later products, that are usually tinged with violet or are of a gray-blue
color.
95
TEAPOT, globular form, with smaU spout and
handle.
Fine textured hard paste porcelain, sustaining a briUiant
91

blue ground color with the delicate arabesque, or rinceau
motive in reserve, under the translucent glazing.
The design involves a semi-nude boy, who, together with
the lotus tracery, forms a Buddhistic combination of youth
and this particular flower.
The foot bears a leaf mark with ring.
Era of K'ang-hsi.
Height and diameter, 4 inches. 96
SMALL BOTTLES (pair), pear-shaped, with
slender neck. White textured porcelain painted
in deep cobalt blue under a faultless glazing.
The decoration presents a picturesque landscape with
water and boatmen ; horsemen are also seen approaching from
the distance; the accessories include pine trees, masses of
rocks and shrubs.
Period of K'ang-hsi.
Height, 7% inches. 97
SMALL BOTTLES (pair). Decorated as above,
but smaUer.
Period of K'ang-hsi.
Height, 6% inches. 98
TWO PLATES. So-caUed "hawthorn." Fine
white textured porcelain, painted in deep cobalt
blue under a faultless glazing.
The central panel presents the branches of the wild
plum (mei) tree, with blossoms reserved on a background of
92

vibrating blue crossed to represent the fissures of breaking
ice. The outer border displays four floral branches in blue
on the white body.
Period of K'ang-hsi.
Diameter, 9 inches.

99
WATER VESSEL. CyUndrical shape.
With arched rim and curved spout; fine textured porce
lain. Covered with powder-blue souffle glaze in mazarin tone
of uniform color.
Period of K'ang-hsi.
Height, 17 inches.

100
THREE PLATES, The surface glazed in pow
der-blue souffle glaze.
With five reserved panels in various forms and separated ;
decorated with familie verte floral subjects and bearing a
" grass " mark.
K'ang-hsi. Diameter, 10 inches.

101
THREE PLATES, Similar to preceding, with
escaUoped edges.
K'ang-hsi. 93

102
ANOTHER, with escaUoped edge, showing gift
objects and peony blossoms alternately; bearing
a " Ling-chih " mark.
Era of K'ang-hsi.
Diameter, 10% inches.

103
TALL VASE. CyUndrical form, or so-caUed club
shape. Fine textured Ch'ing porcelain.
Completely covered with a powdered blue souffle glaze in
deep mazarin tone, of uniform quality. Showing traces of
gold tracery.
Period of K'ang-hsi.
Height, 18 inches.

104
POWDER-BLUE VASE. CyUndrical form,
with attenuated neck.
Fine, hard textured paste (Ch'ing-yao), sustaining a bril
Uant souffle ground glazing, with gold arabesque and re
served panels, separately decorated, showing landscape, gift
objects and floral subjects alternately in polychrome colors
and in the familie verte genre.
The small medalUons at shoulder and base enclose floral
sprays and blossoms.
The foot shows the double ring mark.
Period of K'ang-hsi.
Height, 17 inches. 94

105
TALL SQUARE VASE. Rectangular shape,
tapering downward from shoulder, with small,
tubular neck.
Fine textured porcelain, invested with a briUiant powder-
blue souffle glazing and gold tracery, together with white
reserved panels, which are in varying shape and painted in
familie verte and red colors.
The large vertical panels shown on alternating sides de
pict pictorial representations of Lao-tzse and other sages,
including the group studying the mystic symbol of Yang
and Ying.
Another panel shows a meeting of these personages in a
pine grove. The small oblong panels include red dragon
forms (mang).
The neck shows four floral panels and the angles of
shoulder Taoist emblem medallions.
Period of K'ang-hsi.
Height, 22 inches.

106
POWDER-BLUE JAR, Ovoid form, with cover.
Fine, hard textured paste (Ch'ing-yao), sustaining a
briUiant blue souffle, commonly known as " powder-blue,"
including white reserved panels, which are separately deco
rated a la fa/mille verte.
Four large panels display landscapes with figures and
wiUow trees. The smaU medaUions hold floral sprays.
The cover is similarly decorated. Lent by Mr. J. P. M.
K'ang-hsi. Height, 18 inches. 95

107
POWDER-BLUE VASE, CyUndric form, with
attenuated neck.
Fine, hard textured porcelain, sustaining a brilliant blue
souffle glazing, with gold tracery of lotus and chrysanthe
mums. Four foliated and vertical panels are reserved in the
white and separately decorated in rare familie verte colors.
Each of these panels shows a lady in flowing and rich at
tire promenading in a garden, accompanied by a child.
The accessories are palms, fldwering plants, birds and
rocks. The foot shows a blue ring mark.
Period of K'ang-hsi.
Height, 17 inches.

108
PAIR OF BOTTLES. Pear shape.
Fine, hard textured porcelain, glazed in powder-blue
souffle, with four reserved diamond-shaped panels, showing
various gift objects and emblems in cobalt blue under the
glaze.
Period of K'ang-hsi,
Height, 8% inches. 109
GRAND JAR, Oviform, with cover.
White textured Ch'ien porcelain, invested with a mazarin
powder-blue glazing, with large white reserved panels, sepa
rately decorated in cobalt blue and depicting domestic and
other scenes, with figures and pavilions, etc.
The base of foot is also bordered by a series of circular
96

medaUions showing the Dog-Fo, alternately with flowering
plants. The neck is finished by a broad escaUoped lambrequin
enclosing Taoist emblems with fiUets and gift objects.
The cover is surmounted by a Dog-Fo figure in biscuit
form.
Period of K'ang-hsi.
Height, 4 feet.

110
TALL MAZARIN BLUE BOTTLE. Globular
body, with slender, cylindric neck.
Covered with a rarely briUiant royal powder-blue souffle
glazing. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 16 inches.

Ill
LARGE JAR, Ovoid shape, with cover.
White, hard textured porcelain, invested with a mazarin
powder-blue ground of uniform quaUty, with white reserved
medaUions in varying shape (square, circular, fan and leaf),
separately painted in cobalt blue under the glazing.
Among the subjects presented in the panels are emblem
atic gift objects (vases with three and four peacock feathers,
etc. ) ; others show floral and aquatic plants.
The dome-shaped cover shows fruit shape panels, with
pomegranate, etc.
Period of K'ang-hsi.
Height, 26 inches. 97

112
SMALL POWDER-BLUE GARNITURE
THREE SMALL JARS, with covers. Decorated
in powder-blue souffle, with gold tracery, and
showing leaf -shape panels invested with small
garden scenes in familie rose colors.
Period of Ch'ien-lung,
Height, 10 inches. 113
TWO SMALL BEAKERS, Companions to pre
ceding.
Height, 10 inches. 114
TALL SQUARE VASE, rectangular form, taper
ing from the shoulder downward, with tubular
neck.
Fine white textured Ts'ing porcelain, sustaining a pale
mottled green enamelled ground glazing, sur biscuit, agree
ably blending with the reserved floral designs displayed on
the four vertical panels. Among the emblematic flowering
blossoms (Su-chi-hua) indicative of the seasons are other
flowers of the so-caUed mandarin variety, notably the mag
nolia and hydrangea, with the steins and branches in blue;
the blossoms are shown in soft and white and purple glaze,
all carefully rendered and growing amid moss-green rocks,
including birds.
The tubular neck with its green ground color sustains
bamboo stems and leaves in black outUnes.
The foot bears a blue floral mark.
Period of K'ang-hsi.
Height, 21% inches. 98

115
TALL VASE (one of pair). Slender balustre
shape with foUated body and handles (termed
Hai-Tang in China), Its form gently bulging
upward to two-thirds of height, then contracting
at neck, with its rim everted. The paste is fine
and clear white, painted with typical translucent
colors of the familie verte period.
The decoration displays eight square panels, with land
scape subjects, emblematic flowering blossoms, the fabulous
animals Dog-Fo and birds, posed on the white body ; the pic
torial scenes are uniformly bordered, and the corners or inter
sections are studded with smaU rosettes in yeUow and red,
representing the (mei) blossoms of the prunes. Above this
is a broad bordering, involving diaper forms and vignettes
with fabulous animals — the Dog-Fo and Lizard-like Mang.
The neck, with bronze-colored handles, displays also sym
boUc gift objects on a white ground; a rim bordering in
brocaded design ; and a flowered diaper border at base com
pletes the decoration.
Era, K'ang-hsi.
Height, 24 inches. 116
TALL SQUARE VASE. Graceful rectangular
form, tapering down from a curved shoulder,
with small, everted tubular neck.
Fine white porcelain of Ts'ing; decorated in
transparent enamel colors of the familie verte
palette and period of its provenance.
The four vertical sides, sustaining a transparent light
green ground glazing in brocaded design, involve symbol-
99

ical gift objects (for official and scholar) together with the
decorative archaic dragons posed in formal order close to the
pictorial panels, which are in reserve and painted separately.
The upper and large tier of panels display small land
scape, groups of personages from Chinese mythology and
floral designs. The lower tier of circular panels show a
number of young boys at their games and toy amusements.
The shoulder is decorated with a green diaper design,
involving blossoms of the lotus, in red and blue.
The mortar-shaped neck is encircled by a green escal-
loped border, and displays also four foUated medallions with
the characters of " Shou " and " Fu " (Long life and Happi
ness) alternately, in blue and red enamel, and a red chevron
band finishes the neck.
Foot bears artemisia mark in blue.
Period of K'ang-hsi.
Height, 19 inches.

117
TALL SQUARE VASE. Graceful rectangular
and tapering form, with slightly curved shoulder
and tubular neck.
Fine white Ts'ing porcelain. Decorated sur
biscuit in briUiant familie verte enamel colors of
the seventeenth century.
The four vertical sides present varying panel forms, sep
arately decorated and posed upon a striking green brocaded
ground that is invested with red peony and magnoUa flowers,
arabesque and foliage; including blue and yellow butterflies
which are dispersed over the field.
The subjects depicted on the series of reserved medalUons
include besides the carps, cranes, the hawk and tiger deer
(Ch-Un), the phoenix bird (Feng-Huang), emblem of the Em-
100

press of China, as the dragon, also represented, is the Em
peror's emblem.
The shoulder sustains a free floral design involving blue
butterflies, and the mortar-formed neck displays gift objects,
symbolical of official and Court promotion.
The foot is in biscuit bearing a small square sunken panel
glazed in white.
Period of K'ang-hsi.
Height, 19% inches.

118
TALL VASE (so-called club shape), CyUndrical
form with sloping shoulder, meeting the attenu
ated neck. Massive white textured porcelain of
Ts'ing, sustaining a strongly painted landscape
{sur biscuit), with the elements of the Yiian or
Ming masters in its composition of simpUcity in
color and outline.
The pictorial subject extends around the body of this
vase, against an amber background, and in the three dominant
colors of the seventeenth century.
The foreground shows a peaceful vaUey, intersected by
a winding lake and overhanging slopes of adjacent hiUs; be
yond the water Une, other and loftier hiUs arise amid cloud
forms ; several deer are making their way on an upland path
from the water, while a pair of cranes are seen approaching
under the branches of a pine tree; two others, flying, are
shown on the neck against the yellow enamelled ground color.
The decoration is completed by a narrow green fret bordering
the rim.
Period of K'ang-hsi.
Height, 17 inches. 101

119
TALL VASE, cyUndrical form, with rounded
shoulder and attenuated neck. Fine white tex
tured porcelain (Ts'ing-yao), painted in trans
parent familie verte enamel colors over the glaze.
The decoration presents a series of oblong panels ar
ranged in two tiers, one above the other, each holding a dis
tinct subject; the upper panels showing flowering plants, gift
objects, landscapes, and the Dog-Fo; the lower row of panels
show flowers and landscapes, with the tiger and eagle in com
bat — taken from an ancient Chinese fable.
The shoulder shows a green brocaded border studded with
white floral vignettes, and the neck sustains a landscape with
lake and boatmen, hills and other accessories.
Period of K'ang-hsi.
Height, 18 inches.

120
CABINET VASE, graceful balustre shape. Fine
white textured porcelain of Ts'ing, sustaining a
green enameUed background of rare quaUty.
The decoration is composed of the white blossoming
prune (mei) tree, or so-caUed hawthorn, the trunk and
branches glazed in transparent (manganese) purple hues,
all outlined in soft black and agreeably contrasting with the
brilliant green body color. Rock forms are shown below,
and above are birds.
The mark underneath bears the characters Ta-Ming-
Ch'eng-hua, but the technique and colors may be ascribed to
K'ang-hsi. Lent by Mr. M. J. P.
Height, 17 inches. 102

121
TALL SQUARE VASE, Green ground. Rect
angular form, tapering downward from shoulder,
and with tubular neck.
Rare porcelain of Ts'ing, sustaining a brilliant light
emerald green glazing of superb quality, harmoniously blend
ing with the flowering plants in the various tints typical of
the familie verte genre and of its provenance. Each of the
vertical sides indicates a season by its distinctive emblematic
blossom, showing the trunks of trees and branches picked
out in neutral purple manganese, with the foliage in varying
shades of green and the flowering blossoms picked out in
yellow and purple. Lent by Mr. J. P. M.
Period of K'ang-hsi.
Height, 19 inches. 122
TALL BOTTLE, GlobiUar body, with slender,
cylindric neck. Superb porcelain of Ch'ing.
Sustaining a transparent yellow ground enamelling, with
tlie peony design and foliage separately glazed in light green
and violet-tinted manganese.
The neck shows a coiled Mang (form of dragon), in
similar glaze.
The shoulder base and neck show blue diapered und
arabesque bands under the glaze. Lent by Mr. J. P. M.
Period of K'ang-hsi.
Height, 17 inches. 123
TALL VASE (one of pair). Rare balustre shape,
the slender everted neck divided by a small bulb
ous form or segment.
The texture of the paste is white and clear, and sustains
103

to perfection the brilliant over-glaze decoration {a la familie
verte). Much delicacy is shown in the design and appli
cation of the several colors, in which the distinctive green of
the seventeenth century predominates.
The motive carries numerous small panels of varied shape,
separately decorated and posed amid a richly brocaded green
ground involving floral blossoms, foliage and butterflies that
are dispersed over the field. The white reserved panels pre
sent landscapes, the fabulous Dog-Fo, emblematic flowers,
birds and the precious gift objects (Po-Ku), minutely ren
dered in translucent glazes.
The embeUishment is completed at the upper rim and
base by flowered diaper borders.
Foot carries a blue ring, under the white body engraving.
Era of K'ang-hsi.
Height, 29% inches.

124
TALL SQUARE VASE of graceful, tapering
rectangular form, curved shoulder with attenu
ated mortar-shape neck mounting. Fine tex
tured Ts'ing porcelain paste. Decorated {sur
biscuit) in rich enamel colors of the seventeenth
century.
The four vertical sides edged with a green bordering, dis
playing an imperial yellow ground color, against which are
placed the several symbolic " Mandarin " flowering plants in
harmonious tints of nature.
Each separate panel, indicative of a season, presents, re
spectively, the flowering peony (Mou-tan) for Spring; a lotus
(Nelumbium) for Summer; a chrysanthemum for Autumn,
and the fourth the blossom (prunes) of the "mei" tree
(so-caUed hawthorn) for Winter; all are represented grow-
104

ing amid herbage and rock forms, including a few hovering
birds. All the flowers are rendered with skilful precision, in
a free manner, and in agreeable blending glazes.
The shoulder angles carry small floral sprays finishing
with a chevron fret at the neck ( which is in champ-leve enamel
on metal), the floral motive and colors harmonizing with the
decoration of the porcelain.
The biscuit foot encloses a square, white, glazed panel
inscribed with the apocryphal mark of Ch'eng-hua (Ming
dynasty), in six characters, but the specimen may be ascribed
to the period of
K'ang-hsi.Height, 20 inches. 125
TALL SQUARE VASE, Graceful rectangular
form, tapering down from a sUghtly arched shoul
der, with tubular neck everted at the rim.
Fine white Ts'ing porcelain. Decorated a la
familie verte in translucent enamels of the " seven-
color " variety, in which the green tints of the
seventeenth century predominate.
The four vertical sides show twelve diverse panels (in
form and subject), posed amid an iridescent green brocaded
ground of rare quality, involving arabesque or rinceau forms
with blue and red blossoms.
The pictorial subjects shown on the reserved panels are
remarkable for their precision and vigor in rendering; de
picting various symboUc flowering plants — ^notably, chrysan
themums, peonies, mei-tree blossoms and the lotus. Other
panels present the allegorical carp, Dog-Fo, lion and hawk,
the fabulous phoenix bird, known as Feng-Huang in China.
The shoulder is encircled by a band of (Ling-chih) em-
105

blematic fungus tips; the mortar-formed neck displays two
other reserved panels, with bird and blossoms.
Biscuit foot with small, white, glazed panel.
Era of K'ang-hsi.
Height, 21% inches. 126
TALL SQUARE VASE, Graceful tapering rect
angular form, with sUghtly curved shoulder, and
everted tubular neck. Fine white textured por
celain of Ts'ing, Decorated in translucent
enamel colors of the seventeenth century, and fuU
palette of the familie verte variety.
The four vertical sides present diverse panels, separately
painted with pictorial landscape, fabulous animals, flowers
and bird subjects, all symmetricaUy posed amid a stippled
white brocaded field, interspersed with smaU yeUow and red
blossoms. The mortar-like neck displays a similar brocaded ground
with red blossoms, and includes three smaU, leaf-shaped panels
separately decorated with floral sprays and butterflies.
The shoulder is encircled by a narrow bordering of Ling-
chih (emblematic spear pointed fungus).
Period of K'ang-hsi.
Height, 19 inches. 127
TALL SQUARE VASE (one of pair). Graceful
rectangular form, tapering down from curved
shoulder, with tubular neck. Fine textured por
celain of Ts'ing, Decorated {sur biscuit) in
enamel colors of the seventeenth century.
The four vertical sides display a pale green ground
106

color with aquatic plants edged with yeUow, each panel in
volving a pair of carps (symbol of good omen) in three dis
tinct colored glazes (yeUow representing the gold fish and
the purple and green other types).
The four angles formed by shoulders are invested with
yeUow lotus blossoms, and the cyUndrical portion of neck
displays a landscape including horses — possibly some of the
legendary steeds of the Emperor Muh-wang — driven into
action by the turbulent elements of storm and the dashing
sprays of water.
Biscuit foot with leaf mark panel.

Era of K'ang-hsi.
Height, 19% inches.

TALL SQUARE VASE, Companion to above,
and forming a pair.

128
SMALL VASE, quatref oU, with handles, and open
work stand. Decorated sur biscuit in the poly
chrome glazes of early familie verte.
The design presents small floral medallions formally posed
upon a diapered ground work in green and yellow enamels.
The decoration is completed by small fret bands at base,
shoulder and neck.
The stand is similarly decorated with flowered fret and
diaper. Lent by Mr. E. J. B.
Early K'ang-hsi.
Height, 9% inches.

107

129
TALL VASE, graceful ovoid, with attenuated and
everted neck. Fine hard white porcelain, painted
with a vigorous and free hand; overglaze a la
familie verte.
The so-called brocaded decoration is presented with a
green ground involving blossoms in various colors with
foUage, including alternately smaU vertical panels held in
reserve and separately decorated upon the white body glaz
ing; the two large panels sustain lotus plants with blossoms
and foUage, and peonies with birds, respectively; the small
alternate panels hold flowers, landscapes, and the fabulous
Dog-Fo. The shoulder is finished by several bands, including the
symbolic Ling-chih, and a green flowered diaper with Taoist
symbols on a light turquoise glazed ground.
The neck displays reserved medaUions with landscape,
birds and flower subjects, and the base is bordered in green
scalloped ornament with a light ground color.
Ascribable as late K'ang-hsi.
Height, 17% inches. 130
TALL OCTAGONAL VASES (pair), with at
tenuated neck. Fine white textured porcelain of
Ts'ing, decorated over the glaze in the several
familie verte enamel colors.
The eight vertical sides sustaining a briUiant rinceau
motive, showing alternately conventional symbolic blossoms
of the lotus, peony, aster and chrysanthemum, interspersed
with delicately pencilled scrolled stems and arabesque formed
foliage, in varying tints on the white ground.
The angles of shoulder display floral brocaded panels in-
108

volving blossoms; another band in diapered brocade finishes
the base.
Period of K'ang-hsi.
Height, 18 inches.

131
TALL SQUARE VASE, Rectangular shape
tapering downward; sUghtly curved shoulder,
meeting the everted tubular form of neck.
The fine hard textured porcelain of Ts'ing
is decorated in the several typical translucent
enamel colors of the seventeenth century, show
ing a pale green ground color with the design re
served and separately picked out in varying har
monious tints of glazing, sur biscuit.
Each of the four vertical sides displaying its separate
flowering blossoms (symbolic of a season — i.e., the peony
(Mou-tan) for Spring; a flowering lotus for Summer; the
chrysanthemum for Autumn; and the fourth panel finishes
with the delicate blossoms of the prunes (mei) tree, or so-
called hawthorn. All sides are enclosed by a yellow glazed
marginal border.
The mortar-like neck carries a floral design in a similar
green ground, and is encircled by a narrow chevron band in
purple and green.
The shoulder is finished at the angles by small purple
and white lotus blossoms with green arabesque foliage on a
yellow ground.
The foot bears a blue six-character mark, under the glaze,.
of its period.
K'ang-hsi.Height, 18 inches. 109

182
TALL BOTTLE, Globular, with long, slender
neck. Unique Ch'ing porcelain.
Decorated with translucent enamel colors of the familie
verte genre.
The body sustains a clear yeUow ground involving a
delicately painted rinceau motive with green arabesque foliage
and red blossoms of typical quaUty.
The neck is encircled by a palmation, and the shoulder
carries dragon, or form of Mang. Lent by Mr. W. C. 0.
Period of K'ang-hsi.
Height, 16 inches. 133
TALL VASE, Beaker shape. Fine textured por
celain (Ch'ing-yao), decorated in the brUUant
enamel colors of the familie verte era.
The over-glaze painting shows a rich brocaded ground
with butterflies and various reserved white panels decorated
with mandarin figure subjects; smaUer medaUions sustain
floral sprays and birds. All are beautifully rendered in har
monious glazing. Foot bears a ring mark.
Period of K'ang-hsi.
Height, 18 inches. 184
TALL VASE. Graceful pear shape, with bulb
ous neck and everted top. Fine textured porce
lain (Ch'ing-yao), handsomely decorated in
familie verte colors of the seventeenth century.
The painting shows a rich green brocaded and scalloped
110

lambrequin border at neck, involving white scroll tracery and
yellow blossoms.
The foot is bordered by narrow fret bands and palma
tion, which are repeated also over the neck.
Period of K'ang-hsi.
Height, 15% inches.

135
TALL VASE. Graceful balustre shape. Fine
white porcelain, Ching.
Displays a seven-color decoration on the glace, including
peonies and other flowers growing amidst rushes and shrubs,
with birds and pheasants. In the typical familie verte genre.
Ring mark in blue.
Height, 18 inches.

136
TALL VASE, CyUndric form, with attenuated
neck. Club shape. Fine white textured porce
lain (Ch'ing-yao), decorated in the several en
amel colors of familie verte.
The painting consists of green brocaded and escaUoped
or lanceolated bordering at both shoulder and base, overlap
ping the white body, and filled in with lotus blossoms and
arabesques and showing the intermediate white band in red
and gold floral sprays similar to the neck.
The shoulder is encircled by a green brocaded border,
involving vignettes and blossoms.
Period of K'ang-hsi.
Height, 18 inches. Ill

187
TALL CYLINDRIC VASE, Companion to pre
ceding. Similar decoration, and showing the lan
ceolated lambrequin border, with yellow floral
brocading,
K'ang-hsi,
Height, 18 inches, 188
TALL VASE, Cylindric shape, with attenuated
neck. Fine textured porcelain, decorated in
familie verte enamel colors, and presenting a
ceremonial scene and figure subject, composed
with regard to telUng a story — ^possibly some his
toric event in Chinese history.
The accessories include the richly tesseUated and paved
floor, the table with its symbols and characters of Shou.
The reverse side discloses a park scene with distant view
of hills, etc.
The neck shows the usual brocaded band, with floral vign
ettes. Height, 17 inches.
Period of K'ang-hsi, 139
FAMILLE VERTE SET OF THREE
TWO TALL JARS (pair) , of beautiful, ovoid con
tour, with low dome-shape cover. Fine wliite tex
tured porcelain (Ts'ing-yao) , decorated in the va
rious enamel glazes of the familie verte palette.
A design no less remarkable for its wealth of detail than
for its delicate rendering in translucent and harmonious col
ors is presented, displaying the so-caUed brocaded genre,
112

with its green ground strewn with blossoms and butterflies
in soft reds, and interrupted by the formaUy posed panels in
foliated and petal forms, reserved in the white and separately
painted. The four upper panels sustain emblematic flowering
plants with birds, growing amid rocks, and alternately with
gift vases; emblematic of official advancement. The eight
small petal-shaped panels surrounding the foot of jar show
similar floral and gift objects, known as " Po-ku," on the
white ground.
The neck is bordered by a green and red flowered diaper,
involving four vignettes with symbol objects, books, vases,
etc. The cover is similarly decorated and shows white panels
with taoist objects and motives to match the jar.
Period of K'ang-hsi.
Height, 20 inches.
TALL BEAKER, Companion to above. Deco
rated in similar design, and forming the third
object of the trio.
Period of K'ang-hsi.
Height, 20 inches. 140
TALL SQUARE VASE. Graceful, tapering
rectangular form, with curved shoulder and tu
bular neck. Fine porcelain of Ts'ing. This
vase with a white ground is efi^ectively decorated
in brilUant and transparent familie verte colors
and in the typical tints of its period.
The four vertical sides present separately figure and
flower subjects. Two alternate panels depict a terraced
garden scene, with the figure of a lady attired in graceful,
113

flowing robes, and holding an old form of fan. The other
alternate panels showing a branch of red and yellow peony
flowers, and the fourth stems of (mei) plum blossoms. The
flowers and birds being emblematic as well as decorative, are
skilfully rendered in delicate and supple outUnes.
The shoulder and neck separated by a Ling-chih border,
sustain a brocaded green ground glazing studded with yel
low blossoms, and involve four white reserved panels enclosing
floral twigs.
Foot is in white biscuit.
Period of K'ang-hsi.
Height, 18% inches.

141
TALL VASE (one of pair), CyUndrical form,
with sloping shoulder, and attenuated neck (so-
caUed club shape) . The fine white textured por
celain sustains a brilUant floral decoration in
typical " seven colors " of the familie verte
palette.The design embraces various Mandarin flowering plants
growing close together; notably, the chrysanthemum, peony
(Mou-tan), and aster, in rich colors of nature, rooted among
open rockeries and amid other plants and herbage. The
motive is enlivened by birds and butterflies, all being symboUc
in detail as well as harmonious in color.
The shoulder carries a green flowered diaper band, in
volving small vignettes with blossoms, and a swaztika (em
blem), the flowered diaper neck displays fan shape and square
floral medalUons with birds, finishing at the rim with a nar
row fret band.
Period of K'ang-hsi.
Height, 18 inches. 114

142

TALL VASE, with similar decoration to preced
ing, with which it pairs.

143
TALL VASE, cyUndrical form, with rounded shoul
ders and attenuated neck, or so-caUed club shape.
Fine, hard textured porcelain of Ts'ing, painted in bril
Uant and transparent enamel colors (over the glaze), with
the lustrous red, derived from iron peroxide, dominating.
The decoration presents the briUiant coral-red {rouge de
fer) as a ground color, involving floral arabesques in white;
interspersed with purple-tinted blossoms and formaUy posed
archaic dragons, that form a setting for the various brilliant
green medallions left in reserve and bearing red and yeUow
blossoms with leaves.
The shoulder carrying a border in the green color of rare
jade, with dragon forms in lapis-blue enamel.
The decoration includes an upper rim and narrow base
bordering, in flowered fret design.
The white foot bears a blue ring marking under the glaze.
Period of K'ang-hsi.
Height, 18 inches.

144
PAIR OF VASES. SimUar form and decoration
to preceding.
Lent by Mrs. T.

115

145
TALL HEXAGONAL VASE. Massive white
porcelain, showing mythological and other per
sonages in strong reUef, carefuUy modeUed and
decorated in briliant enamel colors against the
white body glazing.
The six vertical side panels are slightly depressed, framed
by a narrow white edge bordering, and present garden scenes
with sages or figures of the official class, accompanied by
youthful attendants, bearing emblems of rank or symbols of
Taoism. These four panels alternating with two, showing
boys in playful sports. Accessories are pahn and pine trees,
and the terraced backgrounds with flowers.
The bevel-angled shoulder and base panels are invested
with green brocaded and flowered border decoration, and the
attenuated neck carries symbol-gift objects in reUef, picked
out in colored enamels against the white ground, with an
upper rim band in green fret.
Late seventeenth century. Period of K'ang-hsi.
Height, 18 inches.

146
LARGE CYLINDRICAL VASE, with attenu
ated neck.
Massive Ts'ing porcelain, painted on the white
ground in briUiant colors a la familie verte of the
seventeenth century.
The spirited warrior subject presents a multitude of
glammering horsemen in ancient armor with long spears
emerging from a waUed city (with the fanfare of a horn) ;
in pursuit of the mythical rishi, Chung-Kwei, a burly giant
seen riding on the back of a lion and bearing the tiger-headed
116

shield of the war god. Hunting tigers and leopards ^ are
also presented showing a possible interruption to a hunt by
the appearance of the Uon-rishi, who is being attacked so
fiercely. The sortie is keenly watched by a young noble of high
rank who, with attendants and officials, occupies the embattle-
ment above the great gateway ; bearing an ancient inscription
in three characters.
The pictorial embellishment of this vase is completed with
the rendition of trees in autumnal foliage, also cUffs and
rocks ; and a large flock of small birds are seen flying high
in the air.
The neck shows two small panels with landscape and
mountain scenes, and the shoulder is finished by a green star
diapered border studded with small vignettes carrying sym
bolic objects.
Period of K'ang-hsi.
Height, 30 inches.

147
TALL VASE, cylindrical body with roimding
shoulders meeting the attenuated neck (so-caUed
club shape).
The fine textured Ts'ing porcelain of this vase agree
ably sustains a typical " seven color " over-glaze decoration
{a la familie verte), in which the green glazes predominate.
The painting involves various panels that are separately
embelUshed with landscape and floral subjects, and posed
against a green stippled ground, studded with symbolic em
blems or precious objects of " Po-Ku," in varying glazes,
together with lizard-like Mangs in purple glaze.
'Marco Polo relates that hunting was practised on a grand scale
by Kublai-Khan (Yuan dynasty), who ruled during Marco Polo's stay
in China, and that tigers and leopards were trained for the hunt.
117

The two large panels are bordered in dark green fret, and
display rural landscapes with rice cultivation and laborers,
together with poetic inscriptions, which are ascribable to the
artist Ts'iau-Ping, whose works were pubhshed under the
Emperor K'ang-hsi.
The shoulder is encircled by a diapered border with floral
medallion and a narrow emblematic Lin-chi band, and the
base is finished by dentated border in red and green.
Ring mark in blue.
Era, K'ang-hsi (1662-1722).
Height, 18 inches. 148
TALL VASE, Grand beaker shape (gracefuUy
bulging to two-thirds of height, then contracted,
with wide, everted mouth). The fine white tex
tured porcelain sustains a spirited figure subject
in familie verte and typical colors of the seven
teenth century.
The scene presented embraces an imperial palace with ter
raced grounds, including the interior, by that curious Ucense
of Chinese artists. The central figure shows an emperor
seated with his consort, surrounded by personages of the
Court, while two smaU kneeUng figures of humble appearance
are paying homage. The accessories include trees, rocks and
plants ; gabled roofs seen amid conventional cloud forms.
Another figure subj ect is shown on the neck, and displays
some Court personage, receiving tribute or deUvering pres
ents, with tree and cloud accessories.
A simple key-band in yeUow enameUing encircles the neck.
This vase bears the grass mark with fungus (Ling-chih)
symbol, underneath the foot.
Period of K'ang-hsi.
Height, 29 inches. 118

149
TALL VASE, so-caUed club shape; a cyUndrical
body with rounding shoulder and attenuated
neck. Fine hard textured Ts'ing porcelain,
A familie verte decoration, in the typical " seven colors "
of the seventeenth century, is sustained with the clear and
transparent green enamels predominating.
A striking and large figure subject is presented of Taoist
sages and genii; painted with delicacy and in accord with
tradition; traits are weU rendered, including sufficient chiar
oscuro to reproduce the mould of features.
Lao Tsze Shou, the God of Longevity, is seen riding
through the air on clouds, accompanied by a youthful at
tendant, towards the immortal Kin Kao, who has just arisen
from the waters on the back of a great carp, offering the
sacrificial cup with an Elixir Vitae. Another genii (Tung-
Fang So) is pictured offering a large peach of immortaUty.
A third personage is represented in rich attire looking on, and
the youthful Lan Ts'ai-ho is approaching with a rod and
basket of the symbolical fungi (Ling-chih).
Among the accessories may be noticed an old and leafless
tree; great masses of rock forms, several symboUc bats, and
the sun disc high above, representing the hour of noon.
The embeUishment is completed at the neck by a moun
tainous landscape and lake, and at the shoulder by a rich
flowered diaper band in green involving red blossoms. The
rim is finished by a narrow fret bordering.
Period, K'ang-hsi.
Height, 17 inches.

119

150
TALL ARROW VASE (Chien-tung), Hexag
onal form, with its own openwork porcelain
stand or base; massive white Ts'ing porcelain.
Decorated in briUiant familie verte enamel glazes
of the seventeenth century.
The arrow holder or shaft presents a white " orange-
peel " surface with a modeUed and superimposed ornamenta
tion in free reUef, in the form of branches or sprigs of the
peach tree bearing fruit ; picked out in various enamel colors
to resemble nature. Rich flowered and brocaded borders, with
lancet or escaUoped edging, complete the simple and refined
embeUishment of the shaft, except for the six lower figure
subjects showing through the open base.
The pedestal, with its open and raised work, is also deco
rated over the glaze with green stippled and flowered bro
cades ; the bordering of j o-i heads, together with the two
upper brocaded bands, brings this piece into the class of
familie verte.
The biscuit foot bears the single character mark of Yu
(or Yuh), precious or rare as jade.
Era of K'ang-hsi.
Height, 29 inches. 151
TALL SQUARE VASE, with attenuated neck.
Fine hard textured and massive white porcelain,
embelUshed with objects in high reUef, including
enameUing in briUiant colors of the familie verte
period.The four vertical sides, tapering from the shoulder to
base, in white, present depressed panels with symboUcal gift-
objects (Po-ku), picked out and handsomely glazed in colors.
IflO

The smaU incUned shoulder panels carry a painted deco
ration in brocaded design with flowers. The everted base is
similarly treated, and shows aquatic plants and fish vignettes.
The neck, flaring into a rim bordering in green fret, also
holds colored gift objects on the white ground.
Late K'ang-hsi.
Height, 18 inches. 152
TALL BOTTLES (pair). Globular form, with
long, slender neck. Fine white textured porce
lain. Decorated in brUUant overglaze enamel
colors of the familie verte period.
The fabulous Dog-Fo (Tai-shih) is represented in colors
upon the white glazed ground in various attitudes of sport
with the globular emblem (Chu) ; presented with a flowered
diaper design to resemble embroidery, and tied with looped
fiUet forms.
The shoulder is embelUshed by a rich brocade border
studded with blossoms, together with a band of Ling-chih.
The white neck is bordered at the top rim by a diaper
design with hanging and smaU symbols in tassel form.
Era of K'ang-hsi.
Height, 18 inches. 153
TALL BOTTLE, globular body, with slender,
tubular neck. Fine white textured porcelain
painted in brilliant enamel colors of the familie
verte era.
The design displays scroUing forms of convolvulus stems
with green arabesque foliage, and bearing conventionaUzed
Eastern lotus blossoms in red and yeUow, against the white
body color.
The shoulder sustains a green brocaded border with white
121

floral vignettes, and the white cylindrical neck is encircled
by a dragon form (Mang) with bands of lotus palmation
and Ling-chih above and below.
Period of K'ang-hsi.
Height, 17 inches. 154
TALL BOTTLE (black and white). Globular
body, with slender, cyhndrical neck. The fine
white porcelain of Ts'ing is invested with a
unique and exceptional decoration in black over
the glaze painting, showing a deUcate rinceau de
sign in white reserve.
The body and tubular neck carry a scroUed or convol
vulus vine stem with foliage in arabesque forms, and bear
conventional lotus blossoms.
A fret border at shoulder interrupting the rinceau mo
tive, and the base finished by a lotus-petal bordering, com
pletes this unique object.
From the Burghley House Collection, England.
Period of K'ang-hsi.
Height, 17 inches. 155
GROTESQUE FIGURINES of Dog-Fo (pair).
The animal (Tai-shUi)^ is presented seated on an
oblong base with perforations, alternately with
smaU cub and the baU emblem.
Head and body, with the grinning muzzle, are
glazed in green and manganese purple sur bis
cuit (the sharp teeth remaining unglazed) , The
character " Yuh " appears on the forehead (sig
nifying precious as jade) .
The four vertical sides of the base are perforated and
' The Lions or Dogs of Fo are habitual defenders of the threshold
of temples and of Buddhistic altars. 122

show a briUiant enamel decoration in flowered diaper and bro
cade design, studded with "mei" blossoms (hawthorn), the
green and yeUow enamels predominate, the third color being
purple. Biscuit foot, and Ming type.
Attributed to the period of K'ang-hsi.
Height, 15 inches. 156
ANOTHER, pair, of similar character. Teak
stands.
Height, 14 inches. 157
TALL VASE. Beaker form. Fine textured
Ch'ien porcelain.
The briUiant familie verte decoration shows a green trellis
and flowered background, involving butterflies, with the va
rious medallions and panels reserved and separately painted ;
the middle tier of medallions showing animals ; the lower and
upper panels enclosing flower and birds, with the intersections
bordered by narrow fret work.
Period of K'ang-hsi.
Height, 18 inches. 158
CABINET VASE. Pear shape.
Decorated in fa/mille verte enamel colors of rare quality,
depicting the (Feng-Huang) phoenix bird, together with flow
ers and plants growing amid rocks, on a fine white ground.
Period of K'ang-hsi. Lent by Mr. W. C. O.
Height, 13 inches. 123

159
LARGE VASE. Graceful oviform body, with
trumpetrshaped neck. Fine textured porcelain
(Ch'ing-yao), decorated in strong and typical
colors of the familie verte palette.
The spirited composition depicts an historical episode
taken from the Chinese novel, San-Kua-Chih (or records of
the three kingdoms).
The hero represented is Ch'ou-Yiin, who was closely pur
sued by rival leaders when suddenly a great chasm opened
before the enemy after the former had cleared and escaped.
The drawing and colors are most strikingly characteristic
of the K'ang-hsi period. Lent by Mr. W. C. O.
Height, 30 inches.

160
TALL VASE, Balustre shape. Fine textured
white porcelain (Ch'ing-yao) painted with bril
Uant familie verte enamel colors over the glaze.
The decoration presents panels of varied shape and sizes,
separately decorated with pictorial subjects (including land
scapes, flowers and butterflies).
These panels, of quatref oil and leaf form, are posed upon
a green brocaded ground glazing with arabesques and stip-
pUng. The shoulder sustains a green band, shagreened and in
volving characters of Shou, and the neck also holds these
characters in green and black medalUon forms, together nar
row bands of frets and Ling-chih points.
Period of K'ang-hsi.
Height, 18 inches. 124

161
TALL VASE. Graceful oviform. White tex
tured Ch'ing porcelain, sustaining a polychrome
over-glaze decoration in the colors of familie
verte.The pictorial and domestic composition shows a garden
scene, with a group of ladies who are seated under a large
tree and close to a paviUon, from where another lady is seen
approaching towards those at the table.
The accessories include high peaks and the tree in au
tumnal foUage.
The neck displays groups of children.
Period of K'ang-hsi.
Height, 18% inches.

162
TALL VASE, pear shape, with short, tubular neck.
Fine white textured porcelain of Ts'ing, painted
in several opaque enamels including blue of deep
tones, celadon, and reds of peach-Uke tones.
The decoration displays the magnoUa and peonie tree
with flowering blossoms and foUage springing from amid
rock forms, carefuUy modelled in the paste, with a slight
reUef, and picked out in the various enamel colors indicated,.
against the dark blue overglaze enamelling. The subject
is also distinguished by a blue peacock perched upon the
celadon rock.
The underneath foot bears the six character marks in
full of the K'ang-hsi.
Height, 16 inches. 125

163
TALL VASE. Graceful oviform. Fine textured
porcelain (Ch'ing-yao), decorated in various
enamel colors of the familie verte era.
The design includes a green dragon on either side, aris
ing from the sea amid fire and nebulae forms, in pursuit of
the jewel of omnipotence, and posed against a red and white
waved ground, representing the waters. Wave crests finish
the foot. The shoulder is encircled by a broad purple and
green flowered fret, involving vignettes with gift objects.
The neck sustains circular Shou marks in black enamel
against the white ground color.
Period of K'ang-hsi,
Height, 18 inches. 164
IMPERIAL VASE. Ovoid body, with everted
neck and base.
Glazed in green and embellished with an intricate fret
tracery in black, the design involving symboUc bats and
" Shou " characters in coral red over the glazing. A palma
tion encloses the neck and base. Interior and foot glazed
in green. Lent by Mr. M. J. P.
Ch'ien-lung. Height, 16 inches.
165
TALL VASE. Cylindrical form, with smaU neck.
The design displays the so-caUed " hundred Shou char
acters " in black outline and posed on a lustrous green ground
in formal order.
Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 17 inches. 126

166
TALL VASE. CyUndric form.
Invested with a lustrous green body glazing involving
magnoUa trees and other floral blossoms, with purple stems
growing amid rock forms. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 17 inches.
167
LARGE VASE, Oviform, with flaring trumpet-
shape neck.
Rare porcelain of Ch'ing. Sustaining a most vigorous
familie verte decoration. A mythical figure subject is present.
Of Taoist immortals, including the star god of longevity,
his stag, or spotted deer, and boy attendants.
The accessories of landscape show large fir trees. The
enamel colors are all typical and remarkable for strength
and brilliancy. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 29 inches.
168
TWO BEAKERS (pair). Carnet form. Rare
porcelain of Ch'ing.
The colored decoration over the glaze presents a lustrous
coral red {rouge de fer) involving floral arabesque in white.
Enclosed at the top and base by a green scalloped and orna
mented border. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 20 inches. 127

169
TWO TALL VASES (pair). Balustre shaped.
The fine white porcelain displaying a " seven-color "
decoration over the glazes. The floral motive includes grow
ing magnolias, peonies and other flowers, with birds, in the
typical familie verte genre, and disposed over the pellucid
white ground glazing. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 18 inches.

170
TALL VASE. CyUndric shape, with attenuated
neck. Fine white-textured porcelain; richly
decorated over the glaze in various enamel colors
of the familie verte genre,
A ceremonial subject is depicted showing a lady of high
rank seated at a table receiving a report from a person of
distinction attended by bearers of fans of state, together with
other figures bearing symbols or spears of ceremony.
The accessories include interiors of pavilion, showing an
empty room of the lord and master, together with trees, flow
ers and rocks.
The neck is decorated with black bamboo stems with foli
age, and the shoulder is finished by a flowered band with vign
ette, enclosing sea grass and crabs.
Period of K'ang-hsi.
Height, 18 inches.

128

171
OVOID JAR, with round cover. Fine white-tex
tured Ch'ien porcelain, profusely decorated in
varied enamel glazes of the familie verte genre.
The design sustains a series of foUated panels that are
separately painted with " gift-objects " and floral subjects
alternately; shown posed against a lotus-flowered arabesque
rinceau background in lustrous red {rouge de fer).
The shoulder and base are both finished by foUated out
Unes enclosing arabesque and floral motives in green, over
lapping the red field. The upper rim is bordered by a green
brocaded band.
The cover is decorated similar to the jar, with floral and
foUated panels, etc,
K'ang-hsi, Height, 15 inches.

172
TALL BEAKER. Bulbous body, with flaring
base and neck. Fine white-textured porcelain.
Fine white - textured porcelain invested with yeUow
ground enameUing, and together with other tints supplement
ing the deep cobalt blue shown under the glazes. Each of
the three sections sustain separate figure subjects and poetic
inscription in blue.
The underneath foot bears a Ming mark, but is attributed
to the K'ang-hsi era.
Height, 17 inches.

129

GARNITURE OF FIVE
173
THREE SMALL JARS. Ovoid shape, with
covers.
Fine textured porcelain, decorated in polychrome enamel
colors. Border motives show arabesque in green and red, with
this white intermediate band studded with formaUy posed
rosettes in red, green and yeUow.
Period of K'ang-hsi.
Height, 6% inches, 174
TWO VASES. Companions to preceding. SimUar
decoration and completing the set of five pieces.
Height, 7 inches.

175
THREE SMALL COVERED VASES. (Set,)
Perfect ovoid forms, with smaU covers. Fine
white-textured paste (Ch'ing-yao) decorated in
the clear tones of familie verte genre.
The painting presents four vertical panels that sustain
alternately graceful ladies (Lang-Lysen style), and jar
diniere with flowering plants. AU beautifuUy rendered in the
various enamels of their ascribed period.
K'ang-hsi.Height, 9 inches. 130

176
TALL VASE. Balustre shape. White-textured
porcelain of Ch'ing.
The supplementary colored decoration with yeUow
ground, shows a deep cobalt blue under the glaze.
The composition represents a rugged landscape, with a
group of figures, in admiration of a cascade and the distant
view of hiUs in vibrating and briUiant blue, and a stream is
shown in the foreground, with boatmen glazed in pale green.
K'ang-hsi. Height, 17 inches. 177
TALL VASE. Balustre form. Fine-textured
porcelain of Ch'ing, sustaining an overglaze
enamel painting with the yeUow ground color,
supplementing a deep cobalt-blue design and out
Une that is shown under glaze,
A mountainous landscape is presented, with waterf aU and
overhanging ledges on which several figures are shown. The
distant hiUs and siUcic peaks, which are in vibrating blue,
lending much distinction to the composition.
Period of K'ang-hsi.
Height, 15% inches, 178
CABINET JAR. Ovoid form, with cover. Fine-
textured Ch'ien porcelain, decorated in varied
enamel glazes of the familie verte genre, showing
a brUUant green and coral arabesque motive over
the surface, interrupted by a series of panels in
131

foUated forms separately sustaining flowering
blossoms of the Mei tree, chrysanthemum and
lotus plants, with birds and butterfly accessories.
The shoulder and base are uniformly finished by foUa-
ceous forms enclosing floral arabesques and small medaUions,
The cover is similarly decorated.
Period of K'ang-hsi,
Height, 11 inches, 179
LARGE PLAQUE. Familie verte decoration of
rare quality, showing a domestic scene, with the
interior of a noble's house receiving some reports
of the war.
The chief personage is seated at a table, together with
his consort, who holds their infant son in her arms. Attend
ants and other cluldren complete the scene, possibly of some
historic period in era of K'ang-hsi. 180
LARGE VASE. Oviform body, with trumpet-
shape neck. Fine Ch'ing porcelain, decorated in
various enamel colors of the familie verte period.
The painting presents vigorously rendered flowering
peonies and other plants growing amid conventional rock
eries, including a phoenix-bird or imperial Feng-Huang in
briUiant plumage.
The neck sustains floral decorations, and the shoulder is
finished with a brocaded band involving vignettes and gift
objects. Lent by Mr. W. C. 0.
K'ang-hsi. Height, 27 inches. 132

181
TWO BOTTLES (pair). Graceful form, with
bulbous neck. Fine white-textured Ch'ing por
celain, invested with a flower-brocaded and escal-
loped bordering in green, with red blossoms.
The bulbous forms on neck show separate bands, one in
red arabesque the other a green palmation.
Period of K'ang-hsi,
Height, 11 inches, 182
TALL VASE, Club shape. Ch'mg porcelain.
Unique decoration in the familie verte genre.
Showing a spirited dragon and Feng-Huang, amid flame
forms and nebulae, supporting panels with poetical inscrip
tions, which also hold briUiant red lotus blossoms and foUage
against a white ground.
The base is bordered by wave crest forms.
The neck is invested with Taoist emblems of Pa-Ku on the
white ground.
K'ang-hsi.Height, 18 inches, 183
LARGE PLAQUE. Fine white-textured porce
lain, decorated in typical familie verte colors of
the seventeenth century.
The white central panel shows a group of (three) Dog-
Fos sporting with the baU emblem (Chu) in red and gold,
enclosed by a wide outer border in rich floral brocade, involv
ing four blue vignettes finishing the decoration.
K'ang-hsi,
Diameter, 15 inches, 133

184
LARGE PLAQUE, Fme white-textured porce
lain, decorated in the seven-colored familie verte
genre.
The four circular-shaped centre medalUons enclose figure
and fioral painting surrounded by a green brocaded field.
The outer bordering presents a series of foliated panels,
each bearing a separate subject. Among them may be noted
the phoenix-bird, Dog-Fo, hawk and tiger, and the various
mandarin flowers with birds, etc.
The under side bears the six fuU marks of its period.
B?ang-hsi, Diameter, 18% inches.

185
LARGE PLAQUE, Familie verte decoration,
showing a pair of phoenix birds (Feng-Huangs)
amid flowers and rock forms, framed by a bro
caded border with floral vignettes,
K'ang-hsi,
Diameter, 17 inches.

186
TWO SERIES OF CONFECTION TRAYS
(sets of six). The biscuit paste sustains a three-
color decoration, and shows a dwarfed mei tree
on a green ground.
Period of K'ang-hsi. 134

187
LARGE PLAQUE. Fine white porcelam, deco
rated in polychrome glazes of the seventeenth
century, with the lustrous coral red of iron domi
nant. The decoration depicts a garden with paviUon and figure
subject; a departing warrior with attendant and a lady in
wheeled chair, with an infant, are about to separate.
The pictorial panel is bordered with a red and gold floral
design, interrupted by smaU white vignettes with blossoms.
Period of K'ang-hsi.
Diameter, 19 inches.

188
TWO JARS (pair). Ovoid form, with covers.
Ch'ing porcelain, sustaining a familie verte deco
ration of rare perfection.
The painted motive is carried around the body of these
jars and depicts a terraced garden scene, with pavUions, jar
dinieres and numerous figures bordered above and below by
escaUop and brocaded band,
K'ang-hsi, Height, 16 inches.

135

189
LARGE PLAQUE, Massive Ch'ing porcelain,
decorated in polychrome colors including the
lustrous coral-red glaze and gilding.
The painting presents an imperial Feng-Huang, together
with a stork, ducks and other birds and amidst flowers and
rock forms.
The rim band is finished with a chevron fret in coral
{rouge de fer) glazing.
K'ang-hsi.Diameter, 22 inches. 190
LARGE PLAQUE. Fine white-textured porce
lain, decorated in seven colors of the familie verte
genre.The motive presents a terraced garden scene, with a
group of figures and pavilion, with other accessories.
Bordered by dragon forms (Mang) in three colors amid
foliage. Bears a symboUc mark in blue.
Period of K'ang-hsi.
Diameter, 15 inches. 191
LARGE PLAQUE, Fine textured porcelain deco
rated in familie verte enamel colors, showing a
ceremonial figure painting, with interior of pavU
ions, plants and other accessories.
The rim border is in green brocading, interrupted by
vignettes with symboUc Taoist objects of period of K'ang-hsi.
Diameter, 14 inches. 136

192
TWO SMALL VASES (pair). Cabinet size.
Graceful balustre form. Fine textured porce
lain, showing two white panels, with familie verte
colors, depicting, alternately, floral painting with
butterflies, and the other gift objects, signifying
official rank.
The remaining surfaces of the vases show floral ara
besque in white against a lustrous coral-red body color.
The neck is invested with two smaU floral panels against
the red and white rinceau decoration.
Period of K'ang-hsi.
Height, 10 inches. 193
SMALL COVERED VASE. Perfect ovoid
shape. Fine white Ch'ing porcelain, decorated
in transparent glaze of the familie verte genre.
The design includes two vertical panels, one showing the
graceful figure of a lady, carrying a fan. The accessories
show a terraced garden with balustrades and wUlow tree. The
second panel displays a floral subject cleverly rendered and
in clear-colored glaze on the white body color. The cover is
decorated to match,
K'ang-hsi.Height, 10% inches. 193a
ANOTHER. Companion, simUar to preceding,
with smaller foUated panel enclosing floral sub
jects.
Height, 11 inches. 137

194
TWO LARGE PLAQUES. Fine textured por
celain of Ch'ing, decorated in typical familie verte
colors of the seventeenth century.
The painting presents the fabulous bird (phoenix) (Feng-
Huang) with a Uon (from a Chinese fable). The accessories
of the landscape scene include trees, rocks and conventional
cloud forms, with leaf mark.
Period of K'ang-hsi.
Diameter, 16 inches. 195
PLATE, Fine white Ch'ing porcelain, decorated
in familie verte glazes.
Showing the white centre, invested with five medalUons,
bearing stork and flower subjects. With an outer border in
green fret flowered with red blossoms involving white vignettes
with butterflies.
K'ang-hsi,Diameter, 8% inches.
196
TALL MING VASE. Slender biberon shape, with
narrow neck.
Dense kaoUnic porcelain decorated in transparent enamels
over the glaze, with the design imdemeath outUned in cobalt
blue. The border motive includes floral scrolls and arabesque
involving various large conventional blossoms. The shoulder
shows phoenix-birds (Feng-Huang) amid decoration scrolls
and foUage. Lent by Mr. W. C. 0.
Period of Wan-U.
Height, 25 inches. 138

197
SQUARE JARDINIERE. Decorated in the
various enamel colors of the early familie verte
genre.
The vertical sides show small diamond-shaped panels in
black, with " gift-objects," surrounded by green flowered
treUis work. Ming type — ascribed to Lent by Mr. W. C. O.
K'ang-hsi.Height, 6 inches by 6% inches.

198
TWO VASES (pair). Cabinet size. Graceful
forms, with gilt ring and biscuit handles.
The decoration consists of an arabesque and scroU mo
tive in black over the lapis-lazuU blue body enamelUng.
The neck is encircled by a rincecm border.
These vases bear an apocryphal Ming mark, but are
attributed to the period of K'ang-hsi.
Height, 11 inches.

199
CABINET VASE, CyUndric form. Fine tex
tured porcelain of Ch'ing.
Decorated in brilUant familie verte glazing; the figure
subject depicts a combat or surprise between a mounted war
rior, attended by a standard-bearer, and a burly man with
bow and arrow in the branches of a tree.
K'ang-hsi.Height, 10 inches. 139

200
SMALL GROUP. Representing a Taoist immor
tal, Fu-Hsing (god of happiness), carrying a
boy in his arms, with symbol. Beneath, on the
base, are two smaU standing boys.
The decoration is in " three-colors " sur biscuit; the robe
brocaded with floral and other motives, and the paneUed ped
estal showing treUis and diaper designs with borders.
Early K'ang-hsi.
Height, 14 inches. 201
FIGURE CANDLESTICKS (pair). Glazed in
three colors over the biscuit paste, A man is rep
resented on a pedestal holding a tray aloft and
over his head, with the knees bent as from the
staggering weight.
The pedestals are ornamented with treUis work and enam
elUng. Period of K'ang-hsi.
Height, 8% inches. 202
TALL EWER, with handle and spout, of fine
white textured porcelain.
Decorated with various enamels over the glaze in the so-
caUed " five color " genre on a white ground. The flattened
body sustains two leaf-shaped panels separately painted on
the white ground; one with pheasants and prune blossoms,
the other with a fabulous bird (Feng-Huang), amid flowering
140

plants and rocks. A green arabesque design involving red
blossoms borders the panels and is carried into the neck.
The spout and handle display floral sprigs, simUar to
the base. The cover is decorated in red.
Wan-U. Height, 13 inches. 203
TWO EWERS (pair), of smaUer form. In the
five-color decoration and period of Wan-U.

204
HEXAGONAL STAND. Fine grained kaoUnic
biscuit paste, decorated in the early familie verte
enamel colors of the seventeenth century.
The upper panels display a floral design, together with
butterflies, over the white body color, which is surrounded by
a yellow flowered border ; another floral diaper band in green
and black finishes the rim above the legs.
Early K'ang-hsi.
Height, 3 inches.
Width, 8% inches. 205
SMALL GROUP, two mythological figures are
presented seated together, modeUed in fine white
kaolinic paste, and richly decorated sur biscuit
with transparent glazes.
Both show the long, lopped ears of deities, and with hair
in heavy black enamel. Their garments are in light purpUsh
141

glaze, decorated with blossoms of the peach tree, together
with symbols.
The base-stand is paneUed with a diapered pattern, and
also shows the mystical device of " swastika " at the corner
angles, with floral sprays.
Period of K'ang-hsi.
Height, 6 inches.
Width, 5 inches. 206
ORNAMENTAL STAND, modeUed in terraced
form, the various tiers made to hold brushes or
other utensUs.
The design includes a smaU statue on upper tier under
a canopy, with the decoration in polychrome enamel glazing
sur biscuit.
The painted details show floral sprays, blossoms and
various diaper forms on panels and borderings.
Early K'ang-hsi,
Height, 8 inches, 207
PORCELAIN STAND, hexagonal shape, with
low feet. Dense kaolinic biscuit paste, decorated
in three colors.
The panels showing dragons in green and neutral purple
glaze posed on a yeUow ground color of fine amber-Uke
quaUty. The sides are decorated with smaU blossoms.
Early K'ang-hsi.
Top, 7% inches by 7% inches.
Height, 1% inches. 142

208
PORCELAIN STAND, square shape, raised on
four feet. Dense kaolinic biscuit paste, deco
rated in enamel colors of the early familie verte
period. The panel, bordered by a green band in diaper design,
shows a Dog-Fo.
The feet are decorated with dragons in purple glaze.
Early K'ang-hsi.
Top, 10 inches by 10 inches.
Height, 5 inches. 209
PORCELAIN STAND, hexagonal form. Dense
kaoUnic biscuit paste of the seventeenth century,
decorated in three colors typical of the early
familie verte period.
The panel displays the fabulous phcenix bird (Feng-
Huang) (an emblem of the Empress), painted in green and
pale purples on a yeUow ground.
The side flange is bordered in a green chevron and other
bands in green and purple.
Early K'ang-hsi.
Top, 8% inches.
Height, 2% inches. 210
MINIATURE JUNK (imperial toy on wheels),
modeUed in biscuit paste to represent a fuU-
rigged Chinese ship, flying the imperial pendant
with dragon.
The enamel decorations are imposed on the dense kaolinic
paste in polychrome colors of the familie verte variety.
Period of Yung-cheng. 143

211
SWEETMEAT TRAYS (set of seven), ch-cular
form, including the central and six marginal
dishes.
The enamelled decoration over the biscuit paste repre
sents the " three-color " glazes of the seventeenth century.
The amber yellow ground color includes a lotus motive in
white reserve with green and neutral purple painting.
The upper edge shows a green herring-bone fret with
mei blossom interruptions.
Early K'ang-hsi.
Diameter, 16 inches. 212
CONFECTION TRAYS (set of thirteen pieces).
The varied forms together represent a symbohc
lotus blossom.
The enameUed decoration, sur biscuit, is in typical three-
colored glazes (known in China as San-Ts'ai).
A flower design, including the emblematic blossoms of
the peony, lotus and chrysanthemum, is sustained by the
yellow ground color.
The upper edging bordered in pale green involves blos
soms of the mei tree.
Early K'ang-hsi. 213
TALL BOTTLES (pan-). Globular form, with
long, slender everted neck. Fine white textured
and hard paste porcelain of Ts'ing, Decorated
in briUiant overglaze enamel colors and in the
typical familie verte palette of the seventeenth
century.The fabulous animal Dog-Fo (Tai-shih) is represented
144

in various playful attitudes disporting with the globular
emblem (Chu) of large form, tied with waving fiUets, and
showing a flowered diaper design.
The shoulder, with its red chevron band, and neck with
its ornate palmation, includes a rim bordering with hanging
tassels that completes the decoration.
Foot carries a Blue Ring mark.
Period of K'ang-hsi.
Height, 18 inches. 214
TALL BOTTLES (pair). Globular body with
long, slender, everted neck. Fine white hard
paste Ts'ing porcelain; decorated in brilUant
overglaze enamel colors, and in the typical
familie verte of the seventeenth century.
The fabulous animal of Dog-Fo (Tai-shih) is repre
sented in four playful attitudes, against the white body, dis
porting with the emblem (Chu) shown by the balls brocaded
in diaper and ring frets, tied with waving fillets.
The shoulder carries an ornate band in brocaded rinceau
and lotus blossoms, with a bordering of (Ling-chih) sym
bolic lancet forms set against the pure white cylinder of
neck, the upper portion being encircled by a band of green
and yeUow diaper frets, together with hanging tasseled em
blems. The base is finished by a smaU red and green bordering
of lotus leaves.
Period of K'ang-hsi.
Height, 18 inches. 215
UNIQUE BOTTLE, White, with black panels.
An intricate peony and foliage motive is embodied in the
paste and in low relief; interrupted by small circular and
145

other medaUions, with a jet black enameUed ground, each
panel bearing a distinct subject in varied colors, showing
dragons, birds, gift objects, emblems and flowers. The foot
bears six marks. Dynasty of Ming, but is ascribed to the
period of K'ang-hsi. Lent by Mr. M. J. P.
Height, 16 inches. 216
PORCELAIN STAND. Square shape.
Upper panels with black enamelled ground show a mag
nolia decoration. Lent by Mr. M. J. P.
Period of K'ang-hsi. 217
ANOTHER, Semicircular form.
Black ground, with " mei " blossoms.
Lent by Mr. M. J. P.
218
ANOTHER, FoUated form.
Upper panel decorated with Dog-Fo, in black and purple,
surrounded by green lotus bordering. Lent by Mr. M. J. P.
219
SMALL STATUE OF KWAN-YIN (Goddess
of Mercy). ModeUed in the porcelain paste,
with openwork pedestal.
The Buddhist divinity is represented seated on high wave-
beaten rocks of open formation. Glazed in deep purple over
the biscuit. The graceful flowing robes are glazed in yel-
146

low and turquoise, and the soft white pellucid glazing of the
face aids the aspect of serenity.
Strings of beads and pearl symbols separately picked
out in turquoise and other glazes complete the colored em
beUishment. A signed example of the period of Hung-Chih.
Lent by Mr. M. J. P.
Height, 13 inches. 220
SMALL VASE. Ovoid shape, with smaU everted
neck. Rare Ch'ing porcelain, sustaining a deU
cate ivory tint ground color. Decorated with
floral arabesque including a bordering in jewel
effect at the neck.
Ivory stand.
Lent by Mr. M. J. P.
Seal of Ch'ien-lung.
Height, 7 inches. 221
LARGE COVERED JAR. Oviform. Massive
Ming porcelain, showing branches of the wild
prunus tree, with white blossoms, in low reUef
and posed against a briUiant turquoise enamel
ground color. Yiian genre, but ascribed to an
early period imder the Mings.
Lent by Mr. M. J. P.
Height, 17 inches.
ANOTHER. Companion piece, with similar rehef
decoration on a purple-tinged ground. Lent by Mr. M. J. P.
Height, 17 inches. 147

222
GRAND VASE. Oviform body, with trumpet-
shape neck. Fine white textured porcelain of
Ts'ing, sustaining a soft green enamelled back
ground of rare quaUty,
The decoration is composed of the white blossoming prune
(mei) tree or so-called "hawthorn," the trunk and branches
are glazed in transparent (manganese) purple hues ; delicately
outUned and agreeably contrasting with the translucent Ught
green body color. Rock forms and other herbage shown be
low, and above are birds. Lent by Mr. J. P. M.
Period of K'ang-hsi.
Height, 29 inches. 223
SMALL PORCELAIN STAND, oblong shape,
raised on four feet, with masks. The so-caUed
" three-color " enamel decoration sur biscuit is
represented.
The upper panel, showing a prune (mei) tree design with
white buds and blossoms on a pale yeUow ground, framed by
a green and black band studded with similar blossoms.
The feet are glazed in a rich green.
Early K'ang-hsi.
Top, 6 inches by 8 inches.
Height, 2% inches. 224
HEXAGONAL STAND. Fine grained biscuit
paste, decorated in early familie verte of three
colors, displaying the phcenix bird (Feng-
Huang) in purple and green upon a yellow
148

ground glazing. The outer flanged rim shows a
chevron fret band.
Early K'ang-hsi.
Diameter, 8% inches.
Height, 2% inches. 225
HEXAGONAL PLAQUE. Decorated sur bis
cuit in the three-colored glazes of the early familie
verte type.
The design displays the eight mystical trigrams of " Pa-
Kwa," centred by the " Yang and Yin," against a green
ground, including bands of mei blossom on yeUow and green
grounds.Period of K'ang-hsi. 226
SMALL CONFECTION BOX, Square shape.
Decorated sur biscuit in three colors of early
familie verte.
The cover depicts a crane, and the sides show yellow and
green treUis fret work interrupted by small vignettes.
Period of K'ang-hsi.
Width, 4 inches by 4 inches.
Height, 2 inches. 227
ANOTHER BOX. Square shape. Dense paste
decorated in three colors, sur biscuit, the cover
showing a smaU Yang and Ying medalUon in
green and black over the yeUow ground glaze.
The sides, with scroU borders, include mei blos
soms and a wave band with fish.
Width, 4 inches by 4 inches.
Height, 2% inches. 149

228
TALL EWER, Persian shape. Fine hard tex
tured white Ming porcelain. Decorated in five
colors, with the body showing blue dragons or
mangs amid nebiUEe or fire forms in red, together
with other dragons in green and yeUow, forming
medalUons that enclose emblematic (Ling-chih)
ornaments.The base and upper neck show blue borders under the
glaze ; the brilUant red of iron, the green and yeUow glazes,
being supplementary, are painted over the body glazing.
Ascribed to the period of Wan-U.
Height, 14 inches. 229
MING VASE, Low beaker shape, with handles
modeUed after an ancient bronze. The dense-
textured paste is glazed in three-color sur biscuit
typical of an early Ming period, with a yeUow
amber-toned body imposed with figure decora
tion.The neck and base depicting floral motives in pale man-
. ganese purple, which, with small scroU bands and other bor
dering, concludes the embellishment.
Foot bears six marks of Ming.
Height, 11 inches. 230
LARGE MING VASE. Oviform, with everted
neck and handles. Massive porcelain, with the
ornamentation slightly raised in the paste, and
picked out in the several brilliant enamels.
The design includes dragons on either side of vase, separ-
150

ately glazed in yeUow and purple against the light tur
quoise ground color. A palmation in Ught purple finishes
the neck. Other embeUishments include Ling-chih symbols
near neck and smaU incised fret bands — the interior is glazed
in vitreous green. Lent by Mr. E. J. B.
Ming Dynasty.
Height, 26 inches.

231
CABINET VASE, Graceful biberon form, with
small neck, Ming porcelain. Glazed in Ught
violet-tinged manganese color over the biscuit,
and showing a studding of smaU raised blossoms
embedded in the paste, with sUghtly varying
flambe and blue tints.
Of the Ming Dynasty,
Height, 12 inches.

232
FISH JAR, globular form, with smaU neck.
Ming porcelain, painted with a spirited " five-color "
decoration over the glaze, showing red carp swimming
among the aquatic plants in green over the pellucid white
body color. The shoulder is bordered by a radial geometrical
ornament, and the neck is encircled by a red vermiculated
band. The foot is finished by a bordering of (Ling-chih) fun
gus points. This specimen bears the Nien-hao mark in fuU
of Chia-Ch'ing (1522-1566).
Height, 10 inches. 151

233
FIGURE (a deified idol), seated and raised on por
celain base. Dense kaolinic paste, invested with
heavy enamel glazing over the biscuit.
The figure represents Kuan-yii, a deified hero of the civil
wars (third century a.d.), simply clad in a long cloak with
girdle in brilliant turquoise glazing ; the face, hands and feet
are in biscuit form and unglazed. The long lopped ears are
the Buddhistic signs of deity.
Early K'ang-hsi.
Height, 14 inches.
Width at base, 8 inches.

234
ANOTHER FIGURE, smular, represented in
front of a screen (sUghtly darker glazing).
Period, early K'ang-hsi.
Height, 14 inches.

235
TWO SMALL JARS, cabinet size, qautrefoU, with
covers and openwork stands. Decorated sur
biscuit in the varied glazes of early familie verte.
The moulded forms of vertical bamboo stems are separ
ately picked out in alternate tints, with superimposed floral
decoration in various light glazes, including yeUow, green
and purple.
A small band of lotus petals enclose the shoulder, picked
out in soft red, adding much to distinction and rareness.
152

The open-work stands and covers are similarly decorated
and match the jars. Lent by Mr. E. J. B.
Early K'ang-hsi.
Height, 10 inches. 236
SMALL RECLINING FIGURE, with coupe
(receptacle for water), sustaining a San-ts'ai
decoration in three colors, sur biscuit, notably
purple, green, and yeUow.
The figure is well modelled and represents Li-Tai-Po, the
Taoist poet. The water coupe shows the ivory-tinted paste
through the glaze.
Early period of K'ang-hsi.
Width, 7 inches. 237
SMALL RECLINING FIGURE, with smaU
jar, representing Li Peh, the Chinese worthy,
in the coUapse of inebriation. Same glazing as
foregoing.
Early K'ang-hsi.
Width, 7% inches. 238
CABINET VASE, four sided (contour ovoid),
with neck and base attenuated. Richly decorated
sur biscuit in early familie verte enamel colors of
the seventeenth century.
The four (slightly concaved) sides display foliated pan
els with well painted landscape subjects against a yellow
153

ground; green hills, including paviUons or stages alter
nately. These panels in elongated oval form are in green
outline, and posed upon a Ught green brocaded ground, in
volving lotus leaves and red blossoms.
Four floral medallions, each of a different form, fiU the
sides of the neck against the brocaded ground decoration.
A rarely beautiful and characteristic specimen of its class
and period. Lent by Mr. E. J. B.
Early K'ang-hsi.
Height, 11% inches.

239
HANGING VASE, Ancient bronze shape.
Early Ming or Yiian porcelain paste.
Invested with dark purple glazing (aubergine tinge)
sur biscuit, with the paste showing through the glaze in places.
The upper rim and lower base show turquoise tints.
The interior of neck and foot is glazed in yeUow.

Yiian-Ming. Height, 12 inches.

240
DOUBLE CARP VASE. Posed upright upon
open stand. Glazed in three colors of the early
familie verte genre.
The two fish united are symboUc of domestic feUcity in
China.
Period of K'ang-hsi.
Height, 9% inches. 154

241
SMALL STAND, circular shape, raised on three
feet, of dense biscuit paste, sustaining a " three-
color " decoration in typical character.
The upper panel presents a smaU knurled prune (mei)
tree with blossoms and birds, on ivory white ground glazing.
Early K'ang-hsi.
Diameter, 6% inches.
Height, 2% inches.

242
GRAND JAR, taU oviform, with beU-shaped cover.
Massive white textured porcelain, sustaining an
elaborate and briUiant enamel painting over the
white glazed body, in various colors of the familie
rose genre.
The gorgeous decoration displays clustering of various
plants, among these the peony, magnoUa and other flowers
are noted growing among rock forms and other herbage ; the
fabulous bird of paradise (Feng-Huang) is shown perched
on a rocky elevation.
The shoulder holds a yellow arabesque band with floral
vignettes, and the foot is encircled by a geometrical and es
caUoped border, in green and yellow, together with a narrow
red chevron fret.
The cover is decorated with flowers and bordered by a
red fret ; surmounted by a Dog-Fo in red unglazed Boccaro.
Period of Ch'ien-lung.
Height, 4 feet 6 inches, with cover.155

243
THREE TALL JARS. Graceful tapering ovi
form with cover, fine white textured porcelain.
These rouge d'or jars are uniform in color and deco
ration. Painted in enamel colors of the familie rose genre,
they show a brilliant ruby-rose ground of deep quality,
studded here and there with free chrysanthemum blossoms
in several natural tints.
The design includes white reserved panels of varied
shapes, dispersed and separately decorated — i.e., the circular
forms display cocks of the Cochin-China type, with peonies
and birds — the fan-shape reserve shows landscapes, and the
remaining scroll and leaf panels hold floral plants and but
terflies. The embellishment is completed by shoulder and base
bands in varied diaper patterns with landscapes and floral
vignettes, and the bell-shaped cover matching the jar is sur
mounted by a budding lotus flower.
Louis XV. mounting at base in chased ormolu bronze.
Era of Yung-cheng.
Height, 20 inches. 244
GRAND JAR, large oviform contour, with short
neck and cover, white porcelain with overglaze
enamel painting in rich familie rose colors of the
eighteenth century,
A panoramic motive is presented on this jar, depicting
the palace grounds of a great noble. Several summer pavil
ions, with pagoda-Uke roofs and richly-colored trellis fronts,
are depicted, sheltering a multitude of young ladies and chil
dren interested in the arrival of two young horsemen of rank
156

attended by a retinue of servants, one bearing the fan of
state, and others with presents of various kinds. All is ani
mated; the freely drawn, generous design includes trees,
flowers and rocks, as also light summer clouds which hover
over the scene.
The decoration includes rich brocaded borders, with floral
panels at the shoulders, and the base is finished by a foliated
border in various enamel colors.
The cover bears a domestic figure scene and rim border
matching the jar, including a gold knob. Lent by Mr. M. J. P.
Era, Yung-cheng.
Height, 34 inches. 245
GRAND JAR, large and graceful oviform with
short neck, and bell-shape cover.
Massive porcelain of fine white quaUty, invested with an
over-glaze decoration in the most sumptuous familie rose
enamel colors of the eighteenth century.
A remarkable floral motive, which is freely distributed
over the main surface of this jar, displays full-grown peonies-'
in the most radiant rose tints, growing together with other
blossoming plants and foliage, amid rocks and shrubs.
The elegance of an apparently unstudied composition,
the deUcate shading of every tint or half-tone, the soft rose-
tinged whiteness of the petals, the stems bending under the
weight of the fuU-grown flowers, aU unite to form a har
monious and royaUy magnificent example.
The short, white, glazed neck displays floral sprays and
birds, and the shoulder encircled with a broad diapered bor-
' The peony (Mou-tan) is the symbol of Spring, and when in full
bloom is regarded as an omen of good fortune. In Southern Cliina this
flower represents love and affection. 157

der in green and yellow, involves small, white, reserved vig
nettes, showing shell-fish.
The decoration is finished at the base by a rich foliated
border, and the cover displays free floral treatment, matching
the jar; is surmounted by a gilt knob.
Era, Yung-cheng.
Height, 34 inches.

246
TALL VASE (one of a pair). Large and grace
ful balustre contour. Fine white textured por
celain.
Decorated a la familie rose in the briUiant half-tone
enamel colors of the eighteenth century, in which the Ught
rose tints predominate.
The figure-subjects present the eight genii or immortal
personages of the Taoist cult, with their several attributes,
by which they may be distinguished. The central figure, to
whom homage is offered, is Lao Tsze Shou, God of Longevity,
seen riding through the air on a white stork, accompanied by
two attendants, amid whirling conventional clouds. Acces
sory to the composition may be noted the stag of Lao Tsze,
the very old pine tree, near which grow fungus plants (Ling-
duh), symboUcal of long Ufe; above, five colored bats are
hovering (emblematic of five blessings in Ufe).
The fairy queen. Si Wang Mu, is represented on the
neck of vase, accompanied by two attendants, amid cloud
forms, one of whom bears the peaches of longevity, which,
with a few other accessories, complete the bold and spirited
motive. Ascribable to the period of Ch'ien-lung.
Height, 31 inches, 158

247
TALL VASE (one of a pair). Large and grace
ful balustre contour. Fine white textured paste.
Decorated a la familie rose in the brilliant half
tone enamel colors of the eighteenth century, in
which the Ught rose tints predominate.
The figure-subjects present the eight genii or immortal
personages of the Taoist cult, with their several attributes,
by which they may be distinguished. The central figure, to
whom they offer homage, is Lao Tsze Shou, God of Longev
ity, seen riding through the air on his spotted deer, accom
panied by two attendants, amid whirling cloud forms. Among
the group shown with pictorial tradition is Li Tieh, setting
forth his spirit from a gourd ; Lu-Tung, by his sword ; Han-
Siang, by the flute ; Chung-le, with the large peach ; Lan Tsai,
with a basket, etc. Included, among other accessories of the
composition, may be noted an old pine tree with emblematic
fungus (Ling-chih) growing near the foot, with other shrubs,
and amid rocks five bats (Wu Fu), symbol of five blessings,
in rose hover above; the red disc represents the sun. The
fairy queen. Si Wang Mu, is represented on the neck of
this vase, with two attendants and a white stork, amid cloud
forms.
Period of Ch'ien-lung.
Height, 31 inches. 248
TALL " ROUGE D'OR " JAR, Graceful taper
ing oviform, with cover. Fine white textured
porcelain decorated in the remarkably soft enamel
colors of the so-caUed familie rose palette.
The design shows various white reserved panels, with the
remaining surface uniformly invested in a most beautiful
159

light rose souffle, carrying superimposed and freely dis
persed blossoms of the chrysanthemums in various realistic
tints. White reserve panels in double circular form present a
minutely painted figure subject (venerable scholar and child).
The rendering of these panels corresponding to the minute
ness of the painting on rare eggsheU plates. The remain
ing white panels in fan and scroll shape show a pair of cocks
of the Cochin-China type, with peonies, and other flowering
plants with blossoms and foUage.
The decoration is finished at the shoulder and base by
diaper-fret borders in pale tones of green interrupted by
small white vignettes with floral sprigs.
The bell-shaped cover is invested with similar medalUons
and rim border of diapering and vignettes, and is surmounted
by a knob to represent a chrysanthemum bud.
Era, Yung-Cheng.
Height, 24 inches.

249
EGG-SHELL LANTERN. Ovoid form.
The decoration in enamel colors of the familie verte
genre depicts a garden scene, with paviUon and figures, and
the accessories include trees, pahns, rocks and cloud forms.
Late K'ang-hsi.
Height, 8 inches.

250
ANOTHER, Smaller, with pictorial medaUions
and figure subjects.
Height, 7 inches, 160

251
FIGURE OF A COCK. Standing upon a rocky
pinnacle with one leg, Ch'ing porcelain.
Glazed in polychrome enamel colors, with the rose tints
dominating. The plumage on breast is picked out in green,
yeUow and purple. The head is rose colored and the comb
and legs coral red.
Ch'ien-lung.
Height, 15% inches. 252
PAIR OF COCKS. Standing on a rocky pinnacle.
Glazed in polychrome enamel colors, showing the
rose tint on the body, briUiant red comb, black tail
and yeUow legs,
Ch'ien-lung.
Height, 14 inches. 253
TWO VASES (pair). Oviform. Egg-sheU por
celain.The decoration displays a landscape, with a family group
of four feasting by the water-side. Fishermen are seen in
the distance, and a child eagerly watching their sport.
Ch'ien-lung.
Height, 9 inches. 254
TALL JAR. Oviform, with teakwood cover.
Painted in rich enamel colors of the familie rose
period. The light pink ground color is studded with enamelled
161

flowers and blossoms, interrupted by circular reserved medal
Uons, showing green dragons on the white ground, and other
panels in foliated form, depicting landscapes, etc.
The shoulder sustains an elaborate brocaded and scal
loped bordering involving blossoms, and the white neck shows
floral sprigs.
Ch'ien-lung.
Height, 15 inches. 255
TALL JAR. Octagonal oviform. Massive white-
textured porcelain, profusely decorated in familie
rose enamel colors of the eighteenth century.
The eight vertical sides presenting landscape and floral
panels alternately. Both the base and shoulder showing
brocaded borderings, with floral and stippled background in
green, involving chrysanthemum blossoms in contrasting tints.
The octagonal Ud sustains eight floral panels and is sur
mounted by a gUt Dog-Fo.
Ch'ien-lung.Height, 26 inches. 256
ANOTHER JAR, Companion to preceding,
showing landscapes with deer,
257
FIGURINES OF DOG-FO (pair). The animal
(Tai-shih) is presented seated on an oblong base
with perforations, alternately with smaU cub and
the baU emblem.
Head and body, with the grinning muzzle, are
glazed in green and manganese purple sur bis-
162

cuit (the sharp teeth remaining unglazed) , The
character "Yuh" appears on the forehead (sig
nifying precious as jade) .
Two vertical sides of the base are perforated and deco
rated in flowered diaper designs. The sides show landscape
panels. K'ang-hsi. Height, 15 inches, 258
TALL VASE, Oviform. Fine textured Ch'mg
porcelain, decorated in polychrome enamel colors
of the eighteenth century.
With floral brocaded ground involving blooming morn
ing-glories and foUage interrupted by two large panels, which
are separately painted with landscape subjects, displaying
paviUons, house-boats, gift objects, together with children
at play. The shoulder, neck and band show various fret and flow
ered scaUoped borders,
Yung-chSng.
Height, 22 inches, 259
TALL VASE, Slender balustre shape, sustaining
a yeUow enamel ground color which, together with
green and purple, supplements the blue outline of
design noticed under the glaze.
The decoration presents a dragon and carp vigorously
rendered. The former is placed above turbulent waves, and
the fish is just rising amid the crests of the waves.
Period of K'ang-hsi,
Height, 17 inches, 168

260
SECTIONAL VASE, Gourd shape, with handles
and reticulations. Imperial Ch'ing porcelain of
the eighteenth century.
The outer sheU form consisting in part of geometrical
pierced designs, and decorated with polychrome enamels of
varying tints and gUt emblems. Among the productions of
Chinese ingenuity are the vases of above type, fitted with a
central body which, although separated and movable, hori
zontally, cannot be detached. Seal mark.
Ch'ien-lung.
Height, 14 inches. 261
ANOTHER, Of sunilar form and with decorated
embeUishments, showing emblems and bats, etc.,
embodied in the openwork and colored enamel
Ung, The soUd interior vessel shows a figure
decoration.
Seal mark.
Ch'ien-lung.
Height, 12 inches. 262
TWO TALL VASES. Oviform, Fine Ch'ing
porcelain of egg-sheU texture, sustaining a rose
souffle surface glazing in soUd form, interrupted
by white panels on either side, showing separately
painted landscape subjects, including pavUions
and lake views.
Period of Ch'ien-lung,
Height, 15 inches, 164

263
PLATE. Fine Ch'ing porcelain, decorated in
familie rose enamels, and showing a figure sub
ject, with accessories of table and other objects,
bordered by a floral diaper design.
Yung-cheng.
Diameter, 10 inches.

264
PLATE. Fine Ch'ing porcelain, decorated in
familie verte colors, the central panel showing a
purple tree, bearing red blossoms, growing amid
rocks and encircled by birds.
The outer border is brocaded, and includes floral vig
nettes.K'ang-hsi,Diameter, 10 inches.

265
LARGE PLAQUE. Fine Ch'ing porcelain, with
overglaze decoration in polychrome enamels of
the familie rose genre.
The white central panel displays various birds, including
a peacock amid peony blossoms and rocks, enclosed by a blue
brocaded band with red blossoms and gilding, and a rich
brocaded outer border in scaUoped form strewn with blos
soms finishes the embeUishment,
Period of Ch'ien-lung.
Diameter, 21 inches. 165

266
LARGE PLAQUE. Deep shape. Fine white tex
tured Ch'ing porcelain, decorated in rich enamel
colors of the familie rose genre. The white cen
tral panel displays floral branches, with f ohage
and blossoms.
The decoration is finished by two separate borders in
floral and brocaded designs with various floral and fruit sub
jects shown in the smaU vignettes.
Period of Ch'ien-lung,
Diameter, 16 inches.

267
DEEP PLAQUE, Semi-egg-sheU porcelain, deco
rated in rich enamel colors of the familie rose
period. The central panel shows a spotted deer under a blossom
ing tree painted on the white glazed ground.
The outer border shows an elaborate brocaded pattern
with white medalUons enclosing gift objects.
Period of Ch'ien-lung. 268
LARGE PLAQUE. Fine textured porcelains of
Ch'ing, with overglaze decoration in polychrome
colors of the familie rose period.
A garden scene is presented, with flowers and birds, in
cluding a pavilion in part exposing an interior of a scholar's
room, with its accessories of books and vases of distinction,
etc. 166

The pictorial painting is enclosed by a rich diapered and
flowered bordering involving lotus blossoms and white vig
nettes.Yung-cheng.Diameter, 19 inches. 269
TALL VASE, Graceful oviform, with smaU
everted neck. Fine white-textured Ch'ing porce
lain painted with brilliant enamel colors of the
familie rose genre.
The decoration consists of a green and black tracery in
deUcate fret design, which covers the surface, except where
interrupted by the various panels, reserved in the white and
separately painted with floral subjects. The large panels are
represented in scroU shape, and the smaller in both fan and
leave forms. The shoulder is bordered by a flowered diaper,
involving white vignettes, with fish and sea grass.
The neck is decorated with storks and flowers, with the
base finished by a rose palmation.
Period of Yung-cMng.
Height, 17 inches. 270
TALL VASE. Beaker form. Painted in rich en
amel colors of the familie rose period, sustaining
a Ught pink {rouge d'or) ground color studded
with flowering blossoms in varying enamel tints.
The neck is finished at the upper rim by a blue escaUoped
bordering and encircled at the shoulder by a lotus band, with
the embelUshment finished at the base by a radial band in
green involving various emblems.
Ch'ien-lung,Height, 16 inches, 167

271
THREE SMALL JARS. Ovoid, with covers.
Fine textured Ch'ing porcelain, decorated in
familie rose enamel colors over the glaze.
The floral motives include free growing peonies with
stems and foUage in various enamel colors against the pel
lucid white body glazing.
Yung-cheng.Height, 10% inches, 272
TWO SMALL BEAKERS, Matching the pre
ceding, with which they form a garniture.
Height, 9% inches, 273
COLLECTION OF EGG-SHELL PLATES
(16 specimens), including the seven-border and
other forms of decoration with the rose-back.
Period of Yung-cheng, 274
CABINET VASE (red and white) . Graceful ovi
form. Rare porcelain of Ts'ing,
The decoration is in lustrous coral red (hsien-hung) or
pao-shih-hung ("precious stone red"). The deUcate rin
ceau motive covers the vase uniformally with small arabesque
" all-over " design, like open lace work, in rouge de fer on
the pellucid white under glazing.
The underneath foot bears six blue marks. Lent by Mr. M. J. P.
Period of Yung-cheng.
Height, 9 inches. 168

275
TWO LARGE VASES (thousand-flower decora
tion) , Ovoid form, with smaU neck.
Rare Ch'ing porcelain, invested with a superb floral deco
ration, known as the mille fleur motive, the whole exterior
surface being covered by a profusion of minutely painted
flowers with moss and foUage background, in a most accurate
and intricate arrangement, presenting every variety of flower
known to the Chinese,
Rare and interesting specimen of the Ch'ien-lung period.
Lent by Mr. M. J. P.
Height, 16 inches. 276
RETICULATED LANTERNS (pair). Egg-
sheU porcelain in hexagonal form, with ovoid
contour; top and bottom attenuated uniformaUy,
including the radial base and collar ornament.
Decorated in rich polychrome colors of the familie rose
genre. The six vertical sides hold small circular medallions re
served amid the reticulated diaper and trellis work that are
decorated with miniature figure and garden scenes of won
derful perfection. The pierced work is enclosed by margin
bordering that shows a geometric and floral decoration in
varying enamel colors.
The upper and lower receding panels are similar in de
sign; pierced and decorated with borders; finished with for
mal collar ornamentation in slight reUef and escaUoped at the
base and collar. J Lent by Mr. M. J. P.
Period of Ch'ien-lung.
Height, 14 inches. 169

277
IMPERIAL BOTTLE (one of a pair) . Globular
body, with short, tubular neck. Pure white
Ch'ing-te-chen porcelain.
The over-glaze enamel painting displays rarely beautiful
flowering magnoUas and peonies, with other blossoms deli
cately and artistically rendered in the various tints of nature,
on the peUucid white body glaze.
Rare example, esteemed aUke for purity of paste, as for
the perfect decoration.

Lent by Mr. J. P. M.

Seal of Ch'ien-lung in blue.
Height, 20 inches.

278
ANOTHER. Companioii to foregoing. The
decoration includes a branch with foUage and
nine peaches, together with flowering blossoms
and five butterflies (woo-fu).
Lent by Mr. J. P. M.
Seal mark of Yung-ching.
Height, 20 inches. 279
EGG-SHELL LANTERN, Hexagonal, with
reticulations, attenuated at both ends alike, in
cluding radial coUar and base ornaments com
plete.
The six vertical panels, bordered with floral and fret
painting, show open trellis work in diaper patterns, which
involve smaU circular medaUions in soUd form; separately
decorated with miniature figure and garden scenes, in the
various half -toned enamel colors of the eighteenth century.
The receding upper and lower panels are pierced and
170

have a bordering with floral and diaper painting, matching
the remaining marginal bands.
The ornamental collar and bases are both perfect. Lent by Mrs. T.
Period of Yung-cheng.
Height, 14% inches. 280
CABINET VASE. Hexagonal form. Fine hard
textured porcelain, sustaining a " five-color "
decoration over the biscuit glaze of rare per
fection.The vertical panels have a yeUow enameUed ground glaz
ing involving floral plants with blossoms and foliage, all
separately glazed in transparent and typical colors of the
early familie verte.
The shoulder shows a lotus leaf bordering in green.
Lent by Mr. P. A. B. W.
Period of K'ang-hsi.
Height, 10 inches. 281
LARGE "RICE-GRAIN" COUPE. Globular
form. Pure white semi-egg-sheU porcelain
(Ch'ing-yao), decorated in enamel colors, and
displaying pierced star diaper forms Uke grains
of rice, fiUed in with white glaze, supplemented
by a rare " jade-green " enamel body color,
A blue and gold rinceau border finishes the shoulder.
Period of Ch'ien-lung.
Height, 7 inches.
Diameter, 10 inches. 171

282
CABINET VASES (pair), bottle form. Fine
white textured porcelain, decorated in briUiant
enamel colors over the glaze.
The design presents a series of four foUated medalUons,
enclosing floral painting; posed against a brown, lustrous,
copper-like ground (Tzii-chin) with gold.
The shoulder carries a narrow fret band in red, and the
neck is enclosed by a lanceolated green bordering with the
neck above bordered by a green fret decoration.
Ch'ien-lung. Height, 9% inches. 283
TWO SPHERICAL ORNAMENTS (Chu),
reticulated porcelain, enameUed in polychrome
colors of the eighteenth century.
The pierced design shows a series of six floral panels,
decorated and formally posed amid treUis diaper work, in
imitation of the embroidered emblematic baU of the Dog-Fo.
Period of Yung-cheng.
Diameter, 3% inches. 284
LARGE PLAQUE. Fine egg-sheU porcelain.
Sustaining a rich familie rose enamel decoration in floral
design, together with an escaUoped bordering that overlaps
the peUucid white ground glazing.
Yung-cheng.Height, 16 inches. 285
TALL VASE. Ovoid shape, Egg-sheU porcelain
of Ch'ien, decorated in polychrome enamel col-
172

ors of the eighteenth century, and showing a red
stippled surface painting, involving floral and
foUage arabesques, together with the imperial
Feng-huang or phoenix bird.
The base is encircled by an escaUoped band in red.
Period of Ch'ien-lung.
Height, 15 inches. 286
CABINET VASE, Bottle form. Semi-egg-sheU
porcelain, decorated in polychrome enamel colors,
and depicting young equestrians tilting with
lances.A distant roof is shown in red above cloud forms.
Yung-cheng. Height, 12% inches. 287
LARGE PLAQUE. Pure white Ch'ing porcelain,
decorated with deUcately shaded enamel tints.
Depicts a single branch of the mei tree, bearing small
pink blossoms and green foliage; beautifully rendered and
posed upon the lustrous white glazing in rare and supple
perfection. Lent by Mr. W. C. O.
Ch'ien-lung.
Diameter, 20 inches. 288
TALL VASE, Flat balustre shape, with small
handles and stand. Imperial Ch'ien porcelain.
Richly decorated in polychrome enamel colors, with the
imperial yellow dominating. Two sides sustain perforated
173

medalUons holding silhouetted flowers, and showing an in
terior body with separate decoration in blue cloud forms. A
masterpiece of ceramic art. Lent by Mr. W. C. 0.
Period of Ch'ien-lung.
Height, 21 inches.

289
TALL VASE. Oviform, Imperial Ch'mg porce
lain. Decorated in brilUant enamel colors of the
eighteenth century,
A beautiful green ground color of uniform quality agree
ably sustains a free design of flowering plants, with stems,
foUage and blossoms carefuUy picked out in various Ught-
colored glazes.
The interior is finished by a turquoise glazing, and the
foot shows this same color, together with the seal mark of
Ch'ien-lung. Lent by Mr. W. C. 0.
Height, 19 inches.

290
TALL VASE. CyUndric shape, with smaU everted
neck. Decorated in polychrome enamel colors of
the eighteenth century.
The overglaze painting includes numerous circular medal
Uons, showing longevity characters of " Shou " and cranes
posed in formal order over the surface of vase.
The shoulder and base are finished by chevron and other
borders, with neck sustaining dragons, or forms of mang,
amid ornamental scroUs. Lent by Mr. W. C. O.
Period of Yung-cheng.
Height, 16 inches. 174

291
LARGE IMPERIAL VASE. Graceful oviform,
with trumpet neck and handles. Richly decorated
in enamel colors of the eighteenth century, show
ing the dehcate rose-pink dominating in the pic
torial panel subjects.
The body of vase presents a yellow arabesque motive,
which frames the large upright panels that are separately
painted with a ceremonial gathering of sages and scholars
of the Taoist cult. Beautifully painted with certain chiaro
scuro, introduced to show the mould of features with delicacy.
Lent by Mr. W. C. O.
Period of Ch'ien-lung.
Height, 32 inches. 292
TWO TALL VASES. Slender oviform. Im
perial porcelain (Ch'ing-yao).
The deUcate over-glaze decoration shows four circudar
medalUons with soft red and gold dragons amid arabesque and
nebulae forms, formaUy posed against the pellucid white body.
The neck and base sustain narrow rinceau and fret borders
with a studding of smaU rosettes in soft red and gold.
Lent by Mr. M. J. P.
Period of Ch'ien-lung.
Height, 16 inches. 293
IMPERIAL VASE, with small handles and open
work. Fine Ch'ing porcelain handsomely deco
rated. The exterior casing showing circular pierced work with
floral embellishment picked out in various glazes,
175

The neck is pale celadon with gold bands. The foot
and upper rim are encircled by spear-headed scallops.
Lent by Mr. M. J. P.
Period of Ch'ien-lung.
Height, 10 inches.

294
GREEN MING VASE. Slender balustre shape,
with dragon handles.
Invested with a lustrous green glazing of uniform and
rare quality made to resemble the precious green jade " Fai-
tsou-i." The inscribed date mark in blue appears in a horizontal
line under upper rim. Lent by Mr. M. J. P.
Chia-Ch'ing period, 1522-1566.
Height, 20 inches.

295
LARGE BOWL. Fine textured white porcelain
of Ch'mg.
Showing a (swastika) diapered design raised in the paste
with the tracery outlined in briUiant green over the white
body color, and interrupted by leaf-shaped medaUions en
closing floral subjects in brilUant colors and gilding.
The base is encircled with a band of blossoms and leaves,
and the interior shows a floral brocaded band and vignettes
invested with lotus blossoms.
Ch'ien-lung.
Diameter, 10 inches. 176

296
PILGRIM BOTTLE, wheel shape on ovate foot,
with attached handles and neck in triple bamboo
form.
Fine textured porcelain of Ch'ing, sustaining a mono
chrome glaze in robin's-egg color, with brown fleckings.
The circular panels show moulded ornaments in slight
reUef and in archaic symbol forms of five.
The underneath panel of foot bears an incised seal mark
of the Ch'ien-lung era.
Height, 19 inches. 297
TWO CABINET VASES (pah-). Ovoid form,
with attenuated neck and base.
The body is decorated in gold arabesque on a briUiant
lapis ground enamelling reUeved by four oblong panels in
white, which are separately painted with rarely beautiful
floral subjects. Lent by Mr. M. J. P.
Period of Ch'ien-lung.
Height, 14 inches. 298
TALL VASE, Oviform, with smaU neck. Fme
white textured porcelain.
Invested with a floral decoration including peonies, mag
noUas and other flowering blossoms in the various tones of
nature growing amid rocks and herbage.
Freely posed on the white ground, together with poetic
inscriptions. The interior is glazed in green. Lent by Mr. M. J. P.
Period of Ch'ien-lung.
Height, 20 inches. 177

299
LARGE FIGURINES OF DOG-FO (pair).
Finely modeUed in porcelain paste and glazed
over the biscuit, in characteristic " three-color "
genre, with yeUow dominating.
The grotesque animal (Tai-shih) is shown seated in usual
form on a raised pedestal, and alternately with a small cub,
and the ball emblem (Chu), and the emblem character " Yuh "
appearing on the forehead.
The pedestal is decorated in floral diapers and trellis
bands, with panels holding gift objects surrounded by blos
soms of the prunus tree on a yellow ground with ormolu
mountings. Lent by Mr. M. J. P.
Early period of K'ang-hsi.
Height, 18 inches. 300
GRAND VASE. Oviform body, with flaring or
trumpet-shape neck. Fine grained porcelain of
Ch'ing, sustaining a soft, jet-black enamel
ground, with the floral reserve design separately
glazed in various transparent tints, resembUng
nature. The decoration presents a thorny tree fiUed with wliite
magnolia (Yulan) blossoms amid guelder roses and peonies,
and growing among taU rockeries; a pheasant is shown
perched among the flowers and other birds (finches) are to
be noted flying above. The black ground is of characteristic
texture, as are the yeUow, green and manganese purple colors,
and rendered in the masterly style of its period. Lent by Mr. E. J. B.
Period of K'ang-hsi.
Height, 27 inches. 178

GARNITURE WITH BLACK ENAM
ELLED GROUND
301
THREE GRAND JARS, with covers.
Profusely decorated with flowering magnolias, peonies
and other blossoms in various brilliant glazes, and posed
upon a lustrous black enamel ground, including birds and
open rock forms.
Height, 23 inches. 302
TWO BEAKERS, with simUar designs and col
ored enamels.
Completing the set of five pieces. Lent by Mr. J. P. M.
Late K'ang-hsi.
Height, 20 inches.
803
TWO LARGE JARS (pair), oviform, with covers.
Massive white textured porcelain of the eigh
teenth century.
Sustaining a black ground enamelling, with floral arab
esque in green, uniformly distributed and involving chrysan
themums in conventional form, with other superimposed blos
soms painted in varying enamel tints of the familie rose
genre ; freely studded over the field together with the various
panels, in circular, fan and scroll forms, in white reserve and
separately decorated, showing deUcately drawn flowering
peonies, roses, plum blossoins, tendriUed stems of vines, etc.
The decoration is completed at neck, and around the
foot with diapered rose bands enclosing floral vignettes on
a white ground. 179

The cover shows similar medaUions and decorations and
is surmounted by a knob in lotus blossom form.
Period of Yung-cheng.
Height, 24 inches. 304
TALL SQUARE VASE, rectangular form, taper
ing downward from the curved shoulder, with
small tubular neck.
Dense white textured porcelain, invested with a charac
teristic black ground, the marginal edge showing a soft
white. The four sides are embelUshed with favorite mandarin
flowering plants in various tints of glazing, and relieved by
the black color; growing amid rugged masses of moss-green
rocks. Each vertical panel presenting a special blossom sym
boUcal of its season; the peony for Spring; lotus for Sum
mer; the chrysanthemum for Autumn, and the white (mei)
blossom of the prunes for Winter.
The neck and four corners are finished by sprays of blos
soms and the emblematic Ling-chih.
Leaf mark under the foot. Lent by Mr. M. J. P.
Period of K'ang-hsi,
Height, 19% inches. 305
TALL BLACK VASE, Oviform, with smaU
neck. Fine, hard textured porcelain, sustaining
an agreeable black enamel body color.
With a typical reserved design of the wild prune (mei-
hwa) tree; its dwarfed trunk and branches, in neutral toned
manganese purple, bearing soft white blossoms, finely ren
dered and dispersed over the body of vase; showing foliage
180

and rock forms picked out in varying greens, including several
flying birds, aU in the various characteristic glazes of its
period, K'ang-hsi. Lent by Mr. M. J. P.
Height, 17 inches. 806
CABINET VASE (black hawthorn), beaker form.
Fine porcelain of Ch'ing, invested with a black
enameUed ground of rare perfection.
The prune (mei) tree is presented with numerous branches
bearing small white blossoms that are beautifully rendered.
The dwarf trunk is glazed in purple, growing amid green
rock forms, through which the soft white body color of the
paste also appears, reserved from the black and separately
glazed. A unique and perfect type of its kind.
Underneath foot bears a Ling-chih mark in cobalt blue.
Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 17 inches. 307
GRAND VASE. Oviform body, with flaring neck.
Fine textured porcelain of early Ch'ing, invested
with a typical jet-black ground enamelUng,
The design presents green trees, peony blossoms and foU
age together, bamboo stems and birds reserved from the body
color, and separately painted in transparent and brilliant
glazing ; the tree with its green trunk and branches is unique,
and a most rare example of its class. Among the accessories
may be noted decorative cloud-forms and a bird of paradise
181

(or pheasant) perched upon the rocky elevation amid the
herbage. The underneath foot is glazed in black enamel.
Lent by Mr. M. J. p.
Early K'ang-hsi.
Height, 32 inches. 308
GRAND VASE (black hawthprn) . Oviform, with
flaring neck. Fine textured early Ch'ing porce
lain, invested with a jet-black background of
characteristic quaUty.
A reserve design of wild dwarfed (mei-hwa) prune trees
is displayed ; separately glazed in neutral-toned purple man
ganese, the branches bearing green foUage and blossoms in
soft white. Accessories show magpies or other birds, includ
ing the moss-green rock forms and herbage. Lent by Mr. M. J. P.
Period of K'ang-hsi,
Height, 29 inches. 809
CABINET VASE, Graceful biberon form, with
small neck and two Dog-Fo-head handles.
A black ground is represented with colored arabesque
motives painted sur biscuit.
The central section displays a deUcate lotus rinceau with
arabesque scroUs involving dragon forms (Mang). The
shoulder shows a flowered brocading, and the lower section
a floral rinceau with foliage. The neck is enclosed by con
ventional lotus leaves in yeUow, and the intermediate narrow
bands are in fret design. Lent by Mr. M. J. P.
Early K'ang-hsi.
Height, 12 inches. 182

309a,
SIMILAR VASE, WITH GREEN GROUND,
Formerly from the Burghley house and Huth
coUection,
Lent by Mr. P.
310
LARGE VASi: (the so-caUed red hawthorn).
Oviform body, with flarmg neck. Rare Ch'ing
porcelain, invested with a jet-black ground en
ameUing, The motive presents the dwarfed mei tree with red blos
soms (in the typical rouge de fer glaze of its period) ; the
design is freely painted, and with masterly touches showing
the various characteristic colors.
The foot underneath shows a black enamel ground, and
is decorated with a spray of the red mei blossoms.
The most remarkable specimen of its class in the world,
and from the coUection of Mr. J, P, M.
Height, 31 inches. 310a
LARGE VASE (black hawthorn, with white blos
soms). Oviform body and flaring neck. Fine
textured porcelain of early Ch'ing, invested with
a typical jet-black ground enamelUng.
The design showing a dwarfed mei tree with its blossoms,
foUage and birds reserved from the body color; separately
painted with transparent and briUiant glazing ; the tree with
neutral purple manganese bearing small white blossom cen
tred with yeUow is unique in its deUcacy of rendering, and
also a rare example of its class. Among the accessories may
183

be noted birds and rocky elevation in green amid the herbage.
From the coUection of Mr. J. P. M.
Early K'ang-hsi.
Height, 29 inches. 310&
TWO LARGE JARS (pair) , graceful ovoid, with
beU-shaped cover. Massive fine textured porce
lain of the eighteenth century.
Sustaining a black enamel ground brocaded with ara
besque foliage and scrolled vine forms in green, over which
numerous briUiant colored flowers and blossoms are strewn,
together with various emblematic and precious gift objects
of Taoism, official Ufe and other devices that are displayed,
including mandarin flowers, notably, the peony, chrysan
themum, magnoUa and mei blossoms, in rich coloring of
the familie rose variety. The elaborate lambrequin shoul
der bordering, in escaUop in lanceolated outUne, carries a
briUiant red {rouge de fer) arabesque and floral design, and
the neck is encircled by narrow red and Ught green bands,
with base of foot finished by yeUow, green and red radial
flutings. The cover is similarly decorated with black ground and
floral blossoms, and is surmounted by a conical knob.
These jars are unique and distinguished examples of their
class.Period of Yung-chSng.
Height, 24 inches. 311
TALL VASE. Balustre form, with smaU neck (of
the so-caUed black hawthorn class) .
The massive hard paste porcelain is decorated with the
soft black enamelled body-color, carrying a typical reserve
184

design of the wild prune (mei) tree; with its sturdy stems
bearing white and red blossoms, dispersed over the body of
vase, with foUage and birds picked out in varying shades of
transparent green, purple and yeUow glazes ; the knurled tree
and branches are in neutral aubergine (manganese) tones,
and shown growing from amid tall open rockeries in several
shades of green. Lent by Mr. E. J. B.
Period of K'ang-hsi.
Height, 22 inches. 312
TALL SANG-DE-B(EUF VASE. Balustre
form. Paste of the typical " Lang-yao " tex
ture. The monochrome glazing presents the varied tones —
from ruby red to the deeper mottling of the ox-blood, with
crackles. The interior of neck and the foot displaying the
characteristic rice-tinged and crackle glaze, together with
a fine rim edge. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 18 inches. 313
TALL SANG-DE-B(EUF VASE (Lang-yao).
Of similar quaUty to preceding, showing Ught,
transparent shades.
Period of K'ang-hsi.
Height, 18 inches. 314
TALL SANG-DE-BCEUF VASE. Graceful
balustre. Glazing similar to above.
Lent by Mrs. C
185

315
TALL LANG-YAO BOTTLE, Globular body
and tubular neck.
Invested with a unique sang-de-boeuf color, starting from
the rim, which shows the characteristic Ught band or edge;
the brilliant mottled red glaze melts into the various rich and
deeper tones of " dragon's blood " and lie-de-vine shades.
The interior of neck and base disclose the rice-tinted
crackle glazing, and the clean rim of foot further dis
tinguishes this masterpiece of Ching-te-Chen. Produced
under the Lang prefecture. Lent by Mr. J. P. M.
Era of K'ang-hsi.
Height, 17 inches. 816
TALL LANG-YAO VASE. Balustre shape, and
paste of typical quaUty and color. Invested with
the brUUant red glaze known as sang-de-boeuf.
The color on this example is ruby-Uke in its tone from
the neck ; it melts into Ughter and more transparent or ashes-
of-roses tints at the shoulder, from where it merges into the
deeper quality of the " ox-blood " tinge to the base. The in
terior of neck and the underneath foot show a fine ivory tint
crackle glazing, and the foot shows a clean biscuit rim-
Lent by Mr. J. P. M.
Era, K'ang-hsi.
Height, 17 iaches.
817
SANG-DE-BOEUF VASE (Lang-yao). Beaker
form. Of characteristic paste, and sustaining the
deep red monochrome glazing with typical varia
tions which distinguish the examples of its class,
186

The interior of neck and foot shows a Ught celadon
crackle glazing,
K'ang-hsi, Height, 8% inches.

818
ANOTHER (Lang-yao), Biberon form. Of rare
quality.
K'ang-hsi. Height, 6% inches.

319
SANG-DE-BOSUF VASE (Lang-yao), Cylin
drical body, with attenuated neck. White paste
of characteristic crackle texture.
The light sang-de-boeuf glaze is shown with slight mot
tUng in its translucent color, beginning from the upper
edge; where it is defined by a narrow rim of the soft white
body color, it starts with the Ughter tones and ends at the
foot, marked by deUcate variation into the deeper shades that
distinguishes it.
The weU-defined white biscuit margin at the base, where
great technical perfection is shown in ending of the liques
cent red glaze with precision, is also a feature.
The underneath foot has a mottled or " rice-tinted "
crackle glaze, and the interior of neck shows a similar but
darker crackle.
Ascribed to the period of K'ang-hsi (1662-1722), during
the prefecture of Lang-ting-so. Lent by Mr. M. J. P.
Height, 18 inches. 187

820
PLATE, Ch'ing porcelain, completely covered
with sang-de-boeuf glaze of fine texture, with typ
ical crackle surface and mottling of the various
ox-blood tints.
K'ang-hsi.
Diameter, 8 inches. 321
SANG-DE-BOEUF JARDINIERE (Lang-yao),
oviform, with everted flange rim.
Covered in a characteristic red monochrome glaze, with
the varied tones merging from briUiant ruby-red into deeper
shades (the so-called ox-blood), showing mottled or clouded
shadings like old sherry wine, the surface showing a super
ficial network of crackle.
The flanged rim and underneath foot are in the " rice-
color " glaze with fine crackles. Made during the prefecture
of the potter, Lang-ting-so.
With carved teak cover, surmounted by a cameUan-agate
ornament. Lent by Mr. E. J. B.
Period of K'ang-hsi.
Height, 7% inches.
Diameter, 10 Inches.
322
TALL SANG-DE-B(EUF VASE (Lang-yao),
balustre form.
Covererd in a deep red monochrome glaze, with the dis
tinctive variations and mottUngs; beginning from near the
rim of neck and ending at the foot, it is marked with varied
tones shoaUng from clear ruby-red tones into clouded old and
188

deeper sherry shadings. Fine and rare specimen with regard
both to form and briUiant quaUty of the glazing, which is.
also distinguished by a bold network of crackle.
The foot underneath, and the interior of neck showing
" rice-colored " glaze with crackle surface.
Champ-leve enamel stand. Lent by Mr. E. J. B.
Period, K'ang-hsi.
Height, 18 inches. 323
SANG-DE-BCEUF BOTTLE (Lang-yao), glo
bular body, with cyUndrical neck. White paste of
characteristic texture.
Fine red monochrome glaze, with slight changes or
mottling in its brilUant color, beginning from the upper
neck, where the edge is defined by the soft white body color,
it starts as it ends at the foot, marked by flecks and varia
tion that distinguishes its class. The weU-defined white mar
gin at the base may be noted, where great technical perfec
tion is shown in ending of the Uquescent red glaze with
precision. The foot on this example has a clean biscuit rim, and a
mottled or " rice-tinted " crackle glaze underneath, the in
terior of neck showing a similar crackle glaze.
Ascribed to the period of the Emperor K'ang-hsi (1662-
1722) during the prefecture of Lang-ting-so. Lent by Mr. E. J. B.
Height, 15 inches. 825
SMALL VASE {couleur de peche), slender am
phora shape.
Fine white porcelain (Ts'ing-yao) showing a perfect
glazing in the briUiant color known as " peach bloom " which
189

is solidly distributed and shows deUcate mottUng and tinges
to be noted in the typical examples of its class and period.
The body and the interior of the neck display the soft
and velvety tones of the ripened peach skin, and the foot
underneath shows the fine white texture of the paste, also
bears the blue six character mark under the glaze, Ta-Ch'ing-
K'ang-hsi, Nien-chUi (1662-1722). Lent by Mr. E. J. B.
Height, 6 inches. 826
CABINET VASE {couleur de piche), graceful
oviform, with fluted base and slender, everted
neck.Fine white textured porcelain (Ts'ing-yao) invested with
the soft and rare glazing known as " peach bloom " and
peau de peche, its play of color resembling the velvety tones
of a ripened peach skin melting into lighter tones with " ashes-
of-roses " flecking.
The fluting at base shows the interstices of ornament
fiUed with deeper shades, including traces of moss-Uke green
typical of the rarest specimens of this infrequent class.
The blue mark on foot is under glaze, and in six charac
ters of its era, Ta-Ch'ing-K'ang-hsi, Nien-chih (1662-1722).
Leiit by Mr. E. J. B.
Height, 8% inches. 327
SMALL VASE {peau de peche), graceful ovoid
shape with carved ivory top.
Fine white textured porcelain of Ts'ing, sustaining rare
glazing of the ripening peach skin, the soft velvety and
variegated hues of delicate reds, and the shades of ashes-of-
roses, showing through the moss-like green flecking which dis-
190

tinguishes this specimen especiaUy as a most infrequent type
of its class.
The foot bears the six character marks of its period in
blue under the glaze, Ta-Ch'ing-K'ang-hsi, Nien-chih (1662-
1722), Lent by Mr, E. J. B.
Height, 6% inches. 328
SMALL VASE {couleur de piche), slender am
phora form. Fine white " Ts'ing-yao " porce
lain, invested with a soft red glaze known as
" peach-bloom " and peau de piche.
The brilUant color covers the body soUdly, including the
interior of neck, with its deUcate mottUng of Ughter tones,
together with characteristic green fleckings, noted on these
prized examples.
The underneath foot, showing the pure white texture of
the porcelain, bears the six marks in blue under the glaze.
Period, K'ang-hsi,
Height, 6 inches. 329
TWO AMPHORA VASES {peau de piche). Of
graceful, slender shape.
Finest white Ts'ing porcelain, glazed in the typical and
soft red " peach-bloom " glaze, each specimen displaying the
characteristic play of tints and hues separately (one lighter
and the other darker) of the peach skin, with traces also of
the green moss-Uke fleckings, amid the velvety texture of
perfect glazing. Each example bears the six character marks
in cobalt blue imder the foot, of the K'ang-hsi period.
Lent by Mr. M. J. P,
Height, 6 inches. 191

330
FIVE AMPHORA VASES (set of; couleur de
piche). Fine textured Ts'ing porcelain.
Each separate example presents an individual tint of the
peach-bloom genre — a rich velvety-red dominates one vase,
another shows a light shade merging into " ashes of roses,"
and the powdered flecking of soft green invests another — so
that five distinct variations are represented in unique and
beautiful forms. Each vase bears the fuU marks of its
period. Lent by Mr. J. P. M.
K'ang-hsi.
Height, 6 inches.

331
CABINET VASE {couleur de piche), graceful
ovoid body and slender, everted neck including
raised radial fluting at base.
Fine textured Ts'ing porcelain, completely covered (in
cluding the interior of neck) with a perfect and brilUant
monochrome glazing, resembling the velvety and ripening
mottled-red tints of the peach skin. A rare and flawless
example of this most prized form and class.
The underneath foot bears six marks in blue (Ta-Ch'ing-
K'ang-hsi, Nien-chih). Lent by Mr. M. J. P.
Height, 8% inches, 832
ANOTHER. Sunilar to preceding. Lent by Mr. P. A. B. W.
192

838
CABINET VASE {couleur de piche). Graceful
ovoid body, with slender everted neck, and radial
fluting at base. Fine textured Ts'ing porcelain,
completely covered (including the interior of
neck) with a perfect and brilUant monochrome
glazing, resembling the velvety mottled-red tints
of the ripening peach skin. A very rare and
flawless example of this most prized genre.
The underneath foot bears six marks in blue
(Ta-Ch'ing-K'ang-hsi-Nien-chUi) .
Lent by Mr. P. A. B. W.
Height, 8% inches.

834
LARGE BOWL {peau de piche) . SimUar in color,
and variations to the preceding example.
Lent by Mr. M. J. P.
K'ang-hsi.Diameter, 12 inches. 385
TALL VASE {peau de piche), slender balustre
shape. Important and unique example.
Fine (Ts'ing-yao) porcelain, invested with a soUd glaz
ing of the deep color of a ripening peach. With varying
shades and mottUngs, merging into the lighter tints, with
slight fleckings of the green moss tinge.
Foot bears a Ming mark (apocryphal) ascribed to early
K'ang-hsi, Lent by Mr. M. J. P.
Height, 13 inches, 193

836
SMALL ROUGE BOX {couleur de piche), round
form.
Fine textured white Ts'ing-yao porcelain, invested with a
briUiant and deep peach-color glaze which covers the beak
evenly. The underneath foot in white bears the six marks of its
period, in blue imder the glaze. Lent by Mr. E. J. B.
K'ang-hsi.
Diameter, 3 inches.

387
SMALL BOWL (peach-bloom). Fine porcelam
of egg-sheU texture.
Covered with a rare quality of velvety peach-colored
glaze, showing the soft, light pink tone merging into deeper
hues, and shadings of the most precious type.
The white panel of foot bears the fuU marks in blue of
its period, K'ang-hsi. Lent by Mr. M. J. P.
838
ANOTHER BOWL. SimUar, with white mterior,
339
TWO WATER COUPES {peau de piche) . Semi-
spherical, with smaU neck.
Glazed in beautiful and varied hues of the ripening peach,
with soft and velvety red tones and the characteristic green
fleckings separately shown on each. Three deUcate archaic
194

ornaments in circular form are incised on the body under the
brilliant glazing.
The white panel under the foot of each specimen bears
six marks in blue. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 3% inches.
Diameter, 4% inches.
340
FIVE ROUGE BOXES (set; couleur de piche).
Fine textured Ts'ing porcelain.
The glazing of each separate box and cover presents dis
tinct and individual variations of this beautiful monochrome
class. The powdered green flecking dominates one of the
specimens, and the velvety soft red tones another, and a third
type shows the hues of ashes-of -roses in its glazing.
Each example bears the characteristic and fine blue mark
in six characters of K'ang-hsi. Lent by Mr. M. J. P.
Diameter, 3 inches, uniform.
841
SMALL VASE. Slender amphora form. Fine
white " Ts'ing-yao " porcelain, invested with a
soft red glaze known as " peach-bloom " and
peau de piche.
The briUiant color covers the body and the interior of
neck, its deUcate mottUng of Ughter tones includes the char
acteristic green fleckings noted on the most prized examples.
The underneath foot showing a pure white texture and
bears six period marks in blue under the glaze.
Lent by Mr. P. A. B. W.
Period, K'ang-hsi.
Height, 6 inches. 195

342
ANOTHER SMALL PLATE, with peach-bloom
glaze interior, and white glazed back, showing
the six marks of the K'ang-hsi period in blue.
Diameter, 5 inches. 348
SMALL ROUGE BOX {couleur de piche), round
form.
Fine textured porcelain of Ts'ing, invested with a bril
liant " peach bloom-color " with beautiful variations in its
mottling, showing tones of the peach skin melting into Ught
shades or ashes-of-rose tints, with flecks of moss-like green,
a characteristic of the glaze in the most unique examples.
The underneath foot bears the six character marks of its
period. Lent by Mr. E. J. B.
K'ang-hsi.
Diameter, 3 inches.
344
TWO SHALLOW COUPES {peau de piche).
Fine textured white porcelain, showing the ex
terior covered in the velvety " peach-bloom " red
glaze.
With interesting and typical variations of Ught and
deeper tones that merge into one another, together with fleck
ings of a moss-like green (which especially dominate one of
the specimens). The interior glazed in white, and under
neath each piece bears the blue marks of K'ang-hsi in six
characters. Lent by Mr. M. J. P.
Height, 1% inches.
Diameter, 4% inches, 196

345
SMALL AMPHORA VASE {couleur de piche).
The fine white Ts'ing-yao porcelain is invested with a
brilliant " peach-bloom glaze," evenly covering the body and
interior of neck; its delicate mottled shading with the soft
green flecking imitating the ripening tone on the skin of a
peach. The graceful form and texture combined place it
among the most prized objects of its class.
The underneath foot shows the fine quality of paste, and
bears the blue six characters under glaze, Ta-Ch'ing-K'ang-
hsi, Nien-chih (1662-1722).
Height, 6 inches. 346
SHALLOW COUPE {peau de piche) . Fine tex
tured white porcelain.
Showing the exterior covered in the velvety and brilUant
peach-hued red glaze, with interesting and typical variations
of light and deep tones merging into one another, including
a strong flecking of the moss-like green, which especially
dominates this specimen. The interior is glazed in white,
and underneath bears the blue marks in six characters of
K'ang-hsi. Lent by Mr. P. A. B. W.
Height, 1% inches.
Diameter, 4% inches. 347
TWO LARGE BOTTLES (pair) . Superb shapes
and rare monochrome porcelain of Ching-te-chen,
These specimens are remarkable and represent the so-
called " cameUia-leaf " green color in the most perfect man-
197

ner. The green enamel glaze is exceptionaUy even in its tex
ture, and shows a minute crackle surface — so characteristic
of the best types — together with the black enameUed rim.
Lent by Mr. M. J. M.
Period of K'ang-hsi.
Height, 17 inches. 348
SANG-DE-BOEUF BOTTLE. Lang-yao genre.
Lent by Mr. E. J. B.
K'ang-hsi. Height, 12 inches. 349
TALL VASE. Oviform, with scaUoped rim, Fme
textured porcelain of Ch'ing, covered with an
even turquoise glazing of briUiant quaUty,
Period of Yung-cheng.
Height, 19 inches. 350
CABINET BOTTLE, Massive Ch'ing porcelain,
covered with a brown metalUc lustrous glaze,
flecked with smaU particles Uke iron-rust,
K'ang-hsi. Height, 15% inches. 351
CABINET BOTTLE, Fine form, rare Ch'ing
porcelain in monochrome glazing,
• A dark iridescent myrtle green of even quality and superb
soft texture. The interior of neck and foot shows the green
glaze almost approaching black.
Era, K'ang-hsi.
Height, 12 inches. 198

352
SMALL BEAKER, GracefiU and slender shape.
White Ch'ing porcelain, sustaining a pale mono
chrome celadon glazing of Ught tone and fine tex
ture.
Lent by Mr. W. C. O.
Mark of the period of K'ang-hsi.
Height, 8 inches. 353
TALL VASE, Biberon shape. Rare porcelain of
Ch'ing.
Invested with a superb lapis-lazuli blue enamel color of
brilUant and uniform texture. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 15 inches. 354
TALL CYLINDRIC VASE, with attenuated
neck. Club shape. Rare (Ch'ing-yao) porcelain.
Uniformly covered with a briUiant mirror-black glazing.
Of fine texture, which, with its typical form, is ascribed to
the period of K'ang-hsi. Lent by Mr. M. J. P.
Height, 18 inches. 355
TALL VASE. CyUndric form.
Covered in monochrome glazing of the samg-de-hceuf
genre, showing the red shading to soft ashes-of-roses and
liver-red tints during firing. Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 18 inches. 199

356
TALL VASE. Gourd shape. Fme porcelain of
Ch'ing, sustaining an " imperial yeUow " enamel
glaze of unique perfection.
Lent by Mr. M. J. P.
Period of K'ang-hsi.
Height, 17 inches.

857
TALL BEAKER. Rare porcelain of Ch'ing,
showing an intricate and slightly raised design of
lotus flowers embodied in the paste.
The pellucid glazing shows a remarkable straw or Ught-
amber color.
Lent by Mr. M. .1. I'.
Period of K'ang-hsi.
Height, 17 inches.

358
MING JAR. Celadon glaze.
Decorated with flower panels and conventional border.
Ch'eng-hua, 1465—1487.
Height, 9 inches. 359
MING BEAKER, Celadon; giant crackle.
Foliated pattern.
Ch'eng-hua, 1465—1487.
Height, 18% inches. 200

360
TALL BOTTLE. Ch'ing porcelain, covered in
turquoise monochrome glaze, over an incised ara
besque embelUshment of rare quality and even
texture.
K'ang-hsi, Height, 20 inches. 861
TALL VASE, Pear shape. Covered in mono
chrome turquoise glaze of uniform and rare
quaUty.
K'ang-hsi. Height, 14 inches. 362
SMALL APPLE-GREEN VASE (Lu-Lang-
yao). Low oviform, with handles. Dense gray
ish-white paste, invested with a translucent " ap
ple-green " glaze, showing a network of crackle.
The foot and interior of neck showing the typical gray
ish celadon crackled glazing.
Period of K'ang-hsi.
Height, 4 inches, with gilt stand. 868
SMALL VASE, Quasi-gourd shape.
Dense paste glazed in heavy clair-de-ltme of soft texture,
with purple markings.
Late Sung,
Height, 3% inches, 201

864
CABINET VASE. Graceful biberon shape, with
smaU neck, showing two " Ling-chih " ornaments
imposed on shoulder.
The pure white paste sustains a beautiful light pearl-
colored glazing of rare perfection.
The underneath foot bears the six marks of its period in
blue. K'ang-hsi. Height, 8 inches. 865
SMALL AMPHORA VASE. Graceful slender
shape. Of fine Ts'ing porcelain.
Invested with a superb " pearl-colored " monochrome
glaze of uniform texture and rare perfection.
The interior of neck is similarly glazed, and the foot
underneath bears the fuU six marks (in blue).
Lent by Mr. P. A. B. W.
Period of K'ang-hsi.
Height, 6 inches. 366
CABINET VASE {rouge d'or souffle). Bottle
shape, with ovoid body and slender neck. White
textured porcelain of the eighteenth century.
Invested with a rare monochrome glazing in deUcate
powdered rose souffle, that is uniformly appUed over the body.
A wonderful and perfect example of its distinct class. For
merly in the Dana coUection.
The underneath foot bears a seal mark in coral red.
Lent by Mr. M. J. P.
Period of Ch'ien-lung.
Height, 9% inches, 202

867
CABINET VASE. Oviform body, with cylindric
neck. Fine white textured Ch'ing porcelain.
Invested with a light celadon-tinted glazing of even and
soft quality, showing an imposed decoration of four fruit-
shaped splashes in peach-bloom red. Lent by Mr. P. A. B. W.
Late K'ang-hsi.
Height, 9 inches. 868
CABINET VASE. Graceful balustre form. Fine
white Ch'ing porcelain in coral-colored glaze,
showing interior of neck white, of rare texture.
Period of K'ang-hsi,
Height, 8 inches. 869
CABINET VASE. Imperial piece. Royal blue
glaze.Bearing the six marks of Yung-ching.
Height, 12 inches. 370
TALL BOTTLE, Tea leaf glaze, DuU glaze.
Height, 13 inches, 371
TALL BOTTLE. Light oUve glaze.
Height, 13 inches, 203

372
CABINET VASE. Slender neck; peach color
glaze.
Ch'ien-lung. Height, 12% inches. 873
COMPANION VASE. Cherry-red glaze,
Yung-cheng.
Height, 12% inches. 874
CABINET VASE. Globular form, Flambe red
merging into peach-color glaze.
Seal of Yung-ching on the foot. Teakwood stand and
cover, with jade mount.
Height, 8 inches. 875
TALL VASE, Balustre form; high shoulder;
lapis-lazuli glaze.
Has teakwood stand.
K'ang-hsi. Height, 19 inches. 376
TALL VASE. Balustre, Monochrome Uver
color glaze. Mandarin form. Lip retouched.
Teakwood stand.
K'ang-hsi. Height, 17% inches. 204

377
TALL VASE (Lang-yao). Sang-de-boeuf glaze.
Has teakwood stand,
K'ang-hsi. Height, 17% inches; 878
CABINET VASE. Globular shape, BriUiant
sang-de-boeuf glaze.
Has teakwood stand and cover, with jade mount.
(Ground rim,)
K'ang-hsi, Height, 5% inches, 379
TALL VASE, Shagreen crackle glaze.
Teakwood stand,
Ch'ien-lung,
Height, 12 inches, 380
TALL VASE, Shagreen crackle,
Teakwood stand,
Ch'ien-lung.
Height, 13 inches, 881
TALL VASE. Pale celadon glaze.
Teakwood stand.
Yung-cheng,Height, 12 inches. 205

882
TALL VASE, Companion celadon glaze,
Teakwood stand.
Yung-cheng.
Height, 12 inches. 883
CABINET BOTTLE. Turquoise glaze of low
tone,Teakwood stand.
Ch'ien-lung.
Height, 5 inches. 884
CABINET VASE, Pear shape; slender neck;
pale, mottled turquoise glaze,
Teakwood stand.
K'ang-hsi. Height, 5% inches. 385
CABINET VASE. Amphora shape. Mono
chrome powder-blue souffle.
Teakwood stand.
K'ang-hsi. Height, 8 inches. 386
CABINET VASE. Biberon shape. Royal blue
glaze.
Teakwood stand,
K'ang-hsi,
Height, 6 inches, 206

387
CABINET VASE, Biberon shape. Glazed in
lapis-lazuli blue.
Teakwood stand.
K'ang-hsi. Height, 8% inches. 388
CABINET VASE, Cafe-au-lait crackle glaze,
Teakwood stand,
K'ang-hsi.Height, 6 inches. 389
UNIQUE VASE, Slate-blue crackle glaze.
Teakwood stand,
K'ang-hsi, Height, 5% inches, 390
BOTTLE (Lang-yao). Cabinet size; sang-de-
boeuf glaze.
Teakwood stand,
K'ang-hsi. Height, 6 inches, 391
BOTTLE. Lang-yao glaze. Mottled m various
tones of red.
Teakwood stand.
K'ang-hsi. Height, 9% inches. 207

392
CABINET VASE. Apple-green glaze ( Yu-Lang-
yao) , with crackle. Globular body.
Teakwood stand.
K'ang-hsi. Height, 6% inches, 393
CABINET BOTTLE. Apple-green glaze (Yu-
Lang-yao), with crackle.
Teakwood stand,
K'ang-hsi. Height, 7 inches, 394
POTTERY TRIPOD. DuU clair-de-lune glaze.
Sung dynastyj 960 a.d, — 1259 a.d.
Diameter, 4% inches, 895
TALL BEAKER. In monochrome powder blue.
Souffle glaze, with mottling,
K'ang-hsi.Height, 17% inches, 396
TALL BEAKER. In monochrome mirror black
glaze.
K'ang-hsi,Height, 17% inches, 208

397
TALL VASE. Balustre form; mottled powder
blue.
K'ang-hsi, Height, 18 inches, 898
TALL BOTTLE. Celadon glaze.
With ornamentation in sUght reUef . Seal mark of Ch'ien-
lung, Height, 15% inches. 399
TALL BOTTLE. Companion piece.
Pearl-gray glaze, with seal. Mark of Ch'ien-lung.
Height, 15% inches. 400
TALL VASE, Rich red flambe glaze.
Rare specimen of Ch'ien-lung, with seal on the foot.
Height, 16 inches, 401
TALL BOTTLE. Pearl color glaze.
Seal mark of Ch'ien-lung.
Height, 16 inches, 402
TALL BOTTLE. Companion piece.
Slate color. Seal mark of Ch'ien-lung.
Height, 16 inches. 209

403
TALL VASE. Imperial yeUow.
Animal heads in relief. Seal mark of Ch'ien-lung.
Height, 12% inches, 404
TALL VASE, with slender neck. Balustre form.
Showing a foUated design under the celadon glaze.
K'ang-hsi, Height, 18 inches, 405
TALL VASE. Gourd shape. Dark celadon glaze.
Seal mark of Ch'ien-lung,
Height, 13% inches. 406
COMPANION VASE, Light celadon glaze.
Height, 13% inches, 407
PILGRIM BOTTLE. Gray celadon glaze.
Yung-ching seal.
Height, 19% inches, 408
CABINET JAR. Yellow. Globular form,
K'ang-hsi. Height, 8% inches, 210

409
CABINET VASE. BrUUant cherry-red glaze.
Yung-ching, Height, 12 inches, 410
BOTTLE. Cabinet size; pale turquoise glaze.
Teakwood stand.
Ch'ien-lung. Height, 5% inches, 411
CABINET BOTTLE. Dark shagreen glaze, low
toned. Teakwood stand.
K'ang-hsi. Height, 6 inches. 412
BOTTLE. Cabinet size; gray celadon glaze.
Teakwood stand.
Ch'ien-lung.
Height, 5 inches. 413
CABINET BOTTLE. Celadon glaze; thick set.
Teakwood stand,
Ch'ien-lung.
Height, 6 inches, 211

414
VASE, Cabinet size; celadon crackle.
Teakwood stand,
K'ang-hsi, Height, 6 inches, 415
SMALL VASE. Cabinet size.
Soft celadon glaze; mandarin, Teakwood stand.
K'ang-hsi.Height, 5% inches. 416
BOTTLE. Cabinet size; long gourd form.
Celadon glaze. Teakwood stand.
K'ang-hsi. Height, 5% inches, 417
VASE. Cabinet size; funnel shape; pearl gray. In
cised lines under the glaze.
Teakwood stand.
K'ang-hsi. Height, 3% inches. 418
SMALL VASE, Globular. Slate-blue glaze.
Teakwood stand,
Ch'ien-lung,Height, 4% inches. 212

419
CABINET BOTTLE, Cylindrical form.
Pearl-gray glaze. Teakwood stand.
Yung-cheng, Height, 6 inches. 420
CABINET VASE. Slender neck. Monochrome
glaze in pale slate color.
Teakwood stand,
K'ang-hsi,Height, 6% inches, 421
CABINET BOTTLE. Pure pearl color glaze.
CyUndrical form.
Teakwood stand.
K'ang-hsi, Height, 5% inches, 422
CABINET BOTTLE. Imperial yeUow glaze.
Teakwood stand.
Ch'ien-lung. Height, 7 inches, 423
SMALL BOTTLE. Imperial yeUow glaze.
Teakwood stand.
Ch'ien-lung.Height, 5% inches, 213

424
SMALL VASE. Mustard-yeUow crackle.
Teakwood stand,
Ch'ien-lung.
Height, 5% inches. 425
SMALL VASE. Gourd shape; canary-yeUow
glaze.
Teakwood stand.
Ch'ien-lung,
Height, 6 inches, 426
SMALL VASE, Jar shape. Pin crackle mustard-
yeUow glaze.
Teakwood stand.
Ch'ien-lung.
Height, 5% inches. 427
SMALL VASE. Cucumber-green glaze.
Teakwood stand.
Ch'ien-lung.
Height, 5% inches. 428
SMALL VASE. Cucumber-green glaze,
Teakwood stand,
Ch'ien-lung.Height, 5% inches. 214

429
SMALL VASE. Trumpet neck. Coral-red glaze.
Teakwood stand.
K'ang-hsi, Height, 5% inches, 430
GREEN CRACKLE VASE. Trumpet neck.
Teakwood stand,
Ch'ien-lung,
Height, 5% inches. 431
CABINET BOTTLE. Coral-red glaze m low
tone. Teakwood stand.
K'ang-hsi, Height, 6% inches, 432
CABINET VASE. Superb coral color; low-toned
lustre. Teakwood stand.
K'ang-hsi.
Height, 7% inches. 433
CABINET BOTTLE. Robin's-egg glaze.
Teakwood stand,
Ch'ien-lung,
Height, 5 inches, 215

484
SMALL VASE. Biberon form; robin's-egg glaze,
Teakwood stand,
Ch'ien-lung.
Height, 6 inches. 485
SMALL VASE. Trumpet neck; violet glaze.
Teakwood stand.
Ch'ien-lung.
Height, 5% inches, 436
SMALL JAR. Violet color glaze,
Teakwood stand,
Oh'ien-lung,
Height, 5% inches, 437
SMALL VASE. Trumpet neck; violet color glaze.
Teakwood stand.
Ch'ien-lung,
Height, 6 inches. 438
SMALL BOTTLE. Mirror black glaze.
Teakwood stand.
K'ang-hsi,Height, 4% inches, 216

439
SMALL VASE. Trumpet neck; mirror black
glaze, Teakwood stand,
Ch'ien-lung.Height, 3 inches. 440
SMALL VASE, Tea-leaf color glaze.
Teakwood stand,
Ch'ien-lung. Height, 4% inches, 441
CABINET BOTTLE. Powder-blue souffle glaze.
Teakwood stand,
K'ang-hsi.
Height, 5% inches, 442
MING VASE. Biberon form.
Lapis-lazuU glazed ground, with aquatic plants in reUef
in yeUow, white and turquoise. Lip repaired,
Seuen-tih, 1426—1436,
Height, 12% inches, 443
COMPANION PIECE. Lapis-lazuU glaze.
With the ornamentation in yeUow, white and turquoise.
Seuen-tih era, 1426—1436,
Height, 12% inches. 217

444
MING JAR. Aubergine glaze.
With aquatic plants in green and yeUow, Late Ming,
sixteenth century.
Height, 7 inches. 445
DARKER COMPANION JAR.
Aquatic plants. Sixteenth century Ming.
Height, 7 inches, 446
COREAN VASE. Biberon form.
Turquoise glaze. Seventeenth century. Rim retouched.
Height, 9% inches. 447
COREAN COMPANION VASE,
Design picked out in two shades of turquoise, SUghtly
Ughter, Rim retouched.
Height, 10% inches. 448
MING JAR, Celadon glaze (Chiian-yao).
Rib pattern. A soft lustre piece.
Ch'eng-hua, 1465—1487.
Height, 8% inches. 218

449
TALL MING VASE. Graceful oviform, with
slender neck and biscuit handles.
The body of this vase sustains a briUiant green glazing
involving an arabesque and rinceau motive, reserved in the
body in white and outlined in black, together with blossoms
of the lotus in purple glaze.
The shoulder and neck are both bordered in escaUoped
forms, and the green neck displays poetic inscriptions in black.
Attributed to the Dynasty of Ming.
Height, 19 inches.

450
MING VASE. Biberon form. Pale turquoise
glaze.The ornamentation consists of aquatic plants and lotus
flowers in full bloom, painted in purple, white and green.
Hsuan-te, 1425—1435.
Height, 12% inches. 451
POTTERY VASE, Pear shape.
Displaying the eight figures of the immortals modeUed in
reUef. The colors employed are deep violet, turquoise and
yeUow. The figures are framed in with floral arches and
temple hangings in relief.
Yiian, 1260—1349.
Height, 121/2 inches. 219

452
COMPANION VASE, Deep violet color.
Ornamentation in yellow and turquoise, representing
dragons pursuing the crystal baU through the clouds. Con
ventional floral designs complete the design.
Yiian, 1260—1349.
Height, 17 inches. 453
YUAN JAR, Heavy pottery. Deep violet ground.
Ornamented in yeUow and turquoise, depicting dragons
emerging from the sea and flying through the clouds.
Yiian dynasty.
Height, 19 inches. 454
TALL VASE, DuU lustre, gold oUve glaze. Rmg
handles in reUef . Ascribed to the
Han dynasty.
Height, 15 inches. 455
ANCIENT POTTERY JAR. DuU oUve-green.
Two ring handles in rehef . Ascribed to the
Han dynasty.
Height, 15 inches. 456
COMPANION VASE. Of oUve glaze.
The modeUing of the animals shows different grotesque
beasts. Ascribed to the
Han dynasty.
Height, 10 inches. 220

457
POTTERY JAR. Ancient tripod, with its own
cover.Representing a chain of mountains, with monkeys and
Uons modeUed in slight relief. The body of the vase is
ornamented with running deer and other animals. Ascribed
to the
Han dynasty.
Height, 10 inches.

458
ANCIENT POTTERY VASE. The surface is
covered with greenish glaze, duU malachite color.
The shoulder sustains an ornamental band in relief con
sisting of running animals in grotesque elongated forms.
Han dynasty, b.c. 206 — a.d. 220. (A piece that appears
to be the mate of this is noted in Dr. Bushell's London cata
logue. )
Height, 14% inches.

459
RARE YUAN JAR, Ovoid shape, with reticula
tions boldly modeUed, including the original stand
and cover. Dense grayish paste, showing less
kaoUn than later products of its genre. Glazed
in deep purple and turquoise sur biscuit.
The outer casing shows horsemen and other figures
among trees — all vigorously modeUed. A scallop bordering
221

enclosing symbols and other forms of ornament finishes the
shoulder. The cover is in shape of a lotus leaf and is surmounted
by the god of longevity with his stag.
The pedestal is ornamented by a lotus-leaved band.
Lent by Mr. Perry.
Sung- Yiian Dynasty.
Height, 28 inches.

460
TALL VASES (pair; Kuan-yao). Ancient tem
ple piece of unique octagonal form, with archaic
handles.The dense grayish-white paste is ornamented with mask
medallions, together with symboUc tassels in relief, posed
and glazed in light turquoise upon a deep purple ground
color. i
The lower part of neck shows a reUef palmation glazed
in turquoise, with a pointed collar glazed in dark purple.
The octagonal base is glazed in deep purple and shows
sunken foliated panels in turquoise. Lent by Mr. M. J. B.
Dynasty of Yiian.
Height, 26 inches.
461
TALL BOTTLE (Kuan-yao). Pear shape body.
Glazed in deep purple (Mei-tseu-tsing), with
neck encircled by dragon in relief and glazed in
turquoise.
Lent by Mr. M. J. P.
Yiian dynasty.
Height, 16 inches. 222

462
RARE HAN VASE. Rare classical shape, with
flaring neck.
Dense pottery (T'ao), with raised bosses and clustered
ornaments posed near the shoulder.
The old green tinged glazing showing silvery incrusta
tions or coating from extreme age.
Taken from an ancient burial place. Lent by Mr. Perry.
Han Dynasty, b.c.
Height, 26 inches.

463
RARE MING VASE. Graceful Biberon shape,
with dark amber-yeUow ground, showing the
floral design in sUght rehef, with enamelhng in
the five-color genre of early Ming,
Including greens, neutral purples, rouge de fer and Mo
hammedan blue, mixed with the native cobalt.
A unique specimen of Cheng-hua. Loaned.
Height, 18 inches.

464
LARGE VASE. Biberon form. Dark rice-colored
ground, with gray dragon and phoenix decoration.
Corean style. Eighteenth century.
Height, 13 inches. 223

465
TWO FIGURINES (pair), of Fo-Dogs, couchant,
with porcelain base.
This fabulous and grotesque beast is present in unusual
form; the dense biscuit paste is massive and entirely glazed
in a brilliant vitreous green of rare quality.
Early K'ang-hsi.
Height, 9 inches.
Base 8 inches by 5 inches. 224

i-r-J-.'t*;'

'^•j!ms

^'^^z^^

^:%h^'

'I'-j*^'.