404 REPORT OF NATIONAL MUSEUM, 1888. 



KO-YAO OR CHANG-YAO. 



Subsequently, after the removal of the court southwards in 1127, ac- 

 cording to an authority quoted in the Topography of the Chehkiang 

 province, the brothers Chang, natives of Ch'iichow, but having their 

 factory in the Lungch'iian district, gained a high reputation for their jior- 

 celain. These brothers are known as Sheng-i, the elder-born, and Sbeng- 

 ferh, the second-born. The produce of the former's kiln was called 

 Ko-yao, or elder-brother's porcelain, to distinguish it from that manu- 

 factured by the younger Chang, which was termed Ghang-yao or Chang 

 Lungo¥uan yao, i. e., Lungch'iian jjorcelain made by Chang (the younger). 

 Both are c61adon in color, though the elder brother's ware appears to 

 have been lighter in tint, and both have the distinctive marks of celadon, 

 the red mouth or opening and ferruginous ring on the foot. The main 

 difference between the two seems to have been that the Ko-yao was 

 crackled — so closely in the best specimens as to resemble the fishroe — 

 whereas the Ghang-yao was uncrackled. In other respects the descrip- 

 tions are curiously conflicting. The history of the Cbingte-chen factory 

 states that Ko-yao was extremely thin, while the Wiits^a-tsu^ a work of 

 the Ming dynasty, speaks of it as the one kind of porcelain of this epoch 

 "of which it is not too difficult to obtain specimens, owing to its pecul- 

 iar heaviness, which enables it to last long." As compared with the 

 more ancient porcelain of Lungch'iian, the productions of the two Chang 

 are described as "smaller, more graceful in shape, and showing greater 

 delicacy of workmanship."* 



CHUN-YAO. 



The Ghun-yao was a porcelain made from the early part of the Sung 

 dynasty, in the district of Chliuchou or sometimes wrongly correspond- 

 ing to the present district of Yiichow, in the department of K'aifeng, 

 Houan province. It was sometimes molded in grotesque forms (e. <7., 

 a lamp formed of a hornless dragon with scaly body and four short legs, 

 the seri3ent-like head protruding with mouth open to receive the wick 

 and body hollowed into a receptacle for oil), but was usually modelled 

 after ancient bronzes and ornamented with scroll or floral patterns under 

 the glaze, which, according to Hsiang Tziiching, was either vermilion- 

 red or aubergine purple — the two most valuable colors — moonlight 

 white {clair de lune) or pale green, and sometimes marked with granu- 

 lations. The authorities quoted in the T'-ao-sMio, or Treatise on Pottery, 

 would lead one to believe that the best pieces had two or more colors 

 of glaze on the same vase. The higher quality, according to them, con- 

 sisted of pieces having a color red like cinnabar and green like onion- 

 leaves and kingfisher's feathers, which is commonly called parrot- green, 

 and aubergine purple, or of pieces red like rouge, green like oniondeaves 



* JuUen; Oj). cit,, pp. sxvi, 70, fjiirth; 0^>. dt., pp. 31, et seq. Buslaell: 0^. cit., 

 No. 11. 



