THE CERAMIC ART IN CHINA. 405 



aud kingfisher's feathers, and purple likeiukj these three colors being 

 intact aud unchanged by baking. M. Jalieu enumerates seven varie- 

 ties: (1) green or blue like plums; (2) purple-brown like the auberg- 

 ine; (3) red like the Pyrus japonica; (4) pig's liver; (5) mule's lungs; 

 (G) mucus; (7) sky-blue. But such differentiation appears erroneous, 

 for the Treatise on Pottery says : 



Pieces that have oue or two numbers on the bottom as a trade mark, and are of a 

 color resembling pig's liver — since the red, ch'ing (c61adou), aud green colors got 

 mixed together lilie salvai hanging down through not being sufficiently fired — are 

 not to be distinguished as diiferent kinds. For such names as raucixs or pig's liver, 

 wliich are given to this class of porcelain, have been invented for fun's sake. Among 

 these porcelains those which have bottoms like the flower-pots in which sword-grass 

 is grown are considered the most excellent ; the others, viz, those which have ton- 

 shaped censers, Ho-fang jugs, or Kuan-tzii, are all of a yellowish sandy paste, for 

 which reason they are not good in appearance.* 



The same authority adds that none of these porcelains lasted long. 

 Specimens are, however, I believe still to be found. Hsiaug Tzu-ching, 

 after describing a small jar, of globular form, with two boldly designed 

 phoenixes molded in high relief as handles. Interrupting a border of 

 spirally ornamented medallions, adds: 



Chiiuchou porcelain is put at the bottom of the Sung potteries, yet a jar like this 

 one, of elegant form, good color, and fine engraved work, equals, if not excells, as a 

 flower- vase, oue of Ju, Kuau, Ko, or Ting pottery. It is marked beneath with the 

 numeral tvii, five, an additional proof that it is really a Chiin piece, t 



TUNG-CH'ING-YAO. 



Tung chHngyao^ or celadon porcelain, from the eastern capital, was 

 produced at factories situated in the department of K'aifeng, Honan 

 province, the so-called eastern capital of the Sung monarchs, before 

 their retreat southwards, from 960 to 1126. It was of various shades 

 of celadon, uncrackled (seemingly), with the ornamentation engraved 

 under the glaze. The description given by Hsiang Tzii-ching of a small 

 vessel of this ware will convey a truer idea of its character than the 

 vague disquisition of the encyclopaedists. 



* The translation followed is Dr. Hirth's, but the sense is better brought out by Dr. 

 Bushell's more correct rendering, which runs thus : "Among these porcelains the 

 flower-pota and saucers for growing sword-grass are the most beautiful ; the others, 

 namely, the barrel seats, censers aud boxes, square vases and jars with covers," etc. 

 (North China Herald, 12th May, 1888.) The words here rendered, "the flower-pots 

 and saucers for growing sword-grass" are translated by M. Julien "les plats sous le 

 pied desquels on a peint un glaieul." This misconception of the meaning has, as Dr. 

 Hirth points out, led astray all later writers on porcelain and its marks who have re- 

 lied on Julien into describing the acorns as a mark, when found on the foot of a ves- 

 sel, of its being aKiun (Chiin) piece of the finest quality. Dr. Hirth also draws at- 

 tention to the fact that the expression t'li-ssu wen, translated by Julien when treating 

 of one class of this porcelain as showing " veines imitant les soies (poils) du liiJvre," 

 really means showing veining like the ciisetita or dodder — tUi-ssii being the name of 

 that plant. 



tBushell : Op. cit., No. 20, 30, 41, 79. Julien : Op. cit., pp. 74, 75. Hirth : Op. cit., 

 pp.lG, 17. 



