WeRead Powered by ReaderPub
Chinese pottery and porcelain; vol. 2. Ming and Ch'ing Porcelain cover

Chinese pottery and porcelain; vol. 2. Ming and Ch'ing Porcelain

Chapter 2: LIST OF PLATES
By R. L. Hobson
Open in WeRead

Explore more books like this:

ArtEncyclopedias/Dictionaries/ReferenceHistory - Other

About This Book

The volume provides a chronological and technical survey of Chinese porcelain from the Ming through the Qing dynasties, examining major reigns and regional factories, decorative motifs, and evolving production techniques. It analyzes blue-and-white wares, san ts'ai and polychrome enamels, monochromes, and special shapes, and discusses kiln practice, glazing methods, and stylistic innovations under successive emperors. Attention is given to European influences, nineteenth-century developments, diagnostic marks and forms, and the problem of forgeries and imitations. The text is supported by descriptive entries and numerous plates that illustrate typical examples, motifs, and shape types for comparative study.

LIST OF PLATES

Covered Jar or Potiche (Colour) Frontispiece
Painted with coloured enamels on the biscuit. Eight petal-shaped panels with flowering plants, birds and insects on the sides; with a band of smaller petals below enclosing lotus flowers, and borders of red wave pattern and floral sprays. Base unglazed. Early part of the K’ang Hsi period (1662–1722). British Museum.
PLATE FACING PAGE
59. White Eggshell Porcelain Bowl with Imperial Dragons faintly traced in White Slip under the Glaze 4
Mark of the Yung Lo period (1403–1424), incised in the centre in archaic characters.
Fig. 1.—Exterior. Fig. 2.—Interior view. British Museum.
60. Reputed Hsüan Tê Porcelain 8
Fig. 1.—Flask with blue decoration, reputed to be Hsüan Tê period. British Museum.
Fig. 2.—Brush rest. (?) Chang Ch’ien on a log raft; partly biscuit. Inscribed with a stanza of verse and the Hsüan Tê mark. Grandidier Collection.
61. Porcelain with san ts’ai Glazes on the Biscuit 8
Fig. 1.—Wine jar with pierced casing, the Taoist Immortals paying court to the God of Longevity, turquoise blue ground. Fifteenth century. Eumorfopoulos Collection.
Fig. 2.—Screen with design in relief, horsemen on a mountain path, dark blue ground. About 1500. Benson Collection.
62. Barrel-shaped Garden Seat (Colour) 16
Porcelain with coloured glazes on the biscuit, the designs outlined in slender fillets of clay. A lotus scroll between an upper band of clouds and a lower band of horses in flying gallop and sea waves. Lion-mask handles. About 1500 A.D. British Museum.
63. Baluster Vase 24
With designs in raised outline, filled in with coloured glazes on the biscuit; dark violet blue background. About 1500. Grandidier Collection (Louvre).
64. Fifteenth Century Polychrome Porcelain 24
Fig. 1.—Vase with grey crackle and peony scrolls in blue and enamels. Ch’êng Hua mark. British Museum.
Fig. 2.—Vase with turquoise ground and bands of floral pattern and winged dragons incised in outline and coloured green, yellow and aubergine. S. E. Kennedy Collection.
Fig. 3.—Box with bands of ju-i clouds and pierced floral scrolls; turquoise and yellow glazes in dark blue ground. Grandidier Collection.
65. Ming san ts’ai Porcelain 24
Fig. 1.—Vase with winged dragons, san ts’ai glazes on the biscuit, dark blue ground. Dedicatory inscription on the neck, including the words “Ming Dynasty.” Cloisonné handles. S. E. Kennedy Collection.
Fig. 2.—Figure of Kuan-yin, turquoise, green and aubergine glazes, dark blue rockwork. Fifteenth century. Grandidier Collection.
Fig. 3.—Vase with lotus scrolls, transparent glazes in three colours. Late Ming. Grandidier Collection.
66. Porcelain with Chêng Tê Mark 32
Fig. 1.—Slop bowl with full-face dragons holding shou characters, in underglaze blue in a yellow enamel ground. British Museum.
Fig. 2.—Vase with engraved cloud designs in transparent coloured glazes on the biscuit, green ground. Charteris Collection.
67. Blue and White Porcelain. Sixteenth Century 32
Fig. 1.—Bowl with Hsüan Tê mark. Dresden Collection.
Fig. 2.—Covered bowl with fish design. Dresden Collection.
Fig. 3.—Bottle, peasant on ox. Eumorfopoulos Collection.
Fig. 4.—Bottle with lotus scrolls in mottled blue. Alexander Collection.
68. Blue and White Porcelain. Sixteenth Century 40
Fig. 1.—Perfume vase, lions and balls of brocade. V. and A. Museum.
Fig. 2.—Double gourd vase, square in the lower part. Eight Immortals paying court to the God of Longevity, panels of children (wa wa). Eumorfopoulos Collection.
Fig. 3.—Bottle with medallions of ch’i-lin and incised fret pattern between. Late Ming. Halsey Collection.
69. Sixteenth Century Porcelain 40
Fig. 1.—Bowl of blue and white porcelain with silver gilt mount of Elizabethan period. British Museum.
Fig. 2.—Covered jar, painted in dark underglaze blue with red, green and yellow enamels; fishes and water plants. Chia Ching mark. S. E. Kennedy Collection.
70. Porcelain with Chia Ching mark 40
Fig. 1.—Box with incised Imperial dragons and lotus scrolls; turquoise and dark violet glazes on the biscuit. V. and A. Museum.
Fig. 2.—Vase with Imperial dragons in clouds, painted in yellow in an iron red ground. Cologne Museum.
71. Sixteenth Century Porcelain 40
Figs. 1 and 2.—Two ewers in the Dresden Collection, with transparent green, aubergine and turquoise glazes on the biscuit, traces of gilding. In form of a phœnix, and of a crayfish.
Fig. 3.—Bowl with flight of storks in a lotus scroll, enamels on the biscuit, green, aubergine and white in a yellow ground. Chia Ching mark. Alexander Collection.
72. Vase with Imperial five-clawed dragons in cloud scrolls over sea waves (Colour) 46
Band of lotus scrolls on the shoulder. Painted in dark Mohammedan blue. Mark on the neck, of the Chia Ching period (1522–1566) in six characters. V. & A. Museum.
73. Two Bowls with the Chia Ching mark (1522–1566), with designs outlined in brown and washed in with colours in monochrome grounds (Colour) 50
Fig. 1.—With peach sprays in a yellow ground. Alexander Collection.
Fig. 2.—With phœnixes (feng-huang) flying among scrolls of mu-tan peony. Cumberbatch Collection.
74. Two Bowls with gilt designs on a monochrome ground. Probably Chia Ching period (1522–1566) (Colour) 54
Fig. 1.—With lotus scroll with etched details on a ground of iron red (fan hung) outside. Inside is figure of a man holding a branch of cassia, a symbol of literary success, painted in underglaze blue. Mark in blue, tan kuei (red cassia).
Fig. 2.—With similar design on ground of emerald green enamel. Mark in blue in the form of a coin or cash with the characters ch’ang ming fu kuei (“long life, riches and honours”).
75. Ming Porcelain 64
Fig. 1.—Tripod Bowl with raised peony scrolls in enamel colours. Wan Li mark. Eumorfopoulos Collection.
Fig. 2.—Blue and white Bowl, Chia Ching period. Mark, Wan ku ch’ang ch’un (“a myriad antiquities and enduring spring”). Kunstgewerbe Museum, Berlin.
Fig. 3.—Ewer with white slip ch’i-lin on a blue ground. Wan Li period. Eumorfopoulos Collection.
Fig. 4.—Gourd-shaped Vase with winged dragons and fairy flowers, raised outlines and coloured glazes on the biscuit. Sixteenth century. Salting Collection.
76. Blue and White Porcelain. Sixteenth Century 64
Fig. 1.—Vase with monster handles, archaic dragons. Halsey Collection.
Fig. 2.—Hexagonal Bottle, white in blue designs. Mark, a hare. Alexander Collection.
Fig. 3.—Bottle with “garlic mouth,” stork and lotus scrolls, white in blue. Salting Collection.
Fig. 4.—Vase (mei p’ing), Imperial dragon and scrolls. Wan Li mark on the shoulder. Coltart Collection.
77. Two Examples of Ming Blue and White Porcelain in the British Museum (Colour) 72
Fig. 1.—Ewer of thin, crisp porcelain with foliate mouth and rustic spout with leaf attachments. Panels of figure subjects and landscapes on the body: “rat and vine” pattern on the neck and a band of hexagon diaper enclosing a cash symbol. Latter half of the sixteenth century.
Fig. 2.—Octagonal Stand, perhaps for artist’s colours. On the sides are scenes from the life of a sage. Borders of ju-i pattern and gadroons. On the top are lions sporting with brocade balls. Painted in deep Mohammedan blue. Mark of the Chia Ching period (1522–1566).
78. Porcelain with pierced (ling lung) designs and biscuit reliefs. Late Ming 74
Fig. 1.—Bowl with Eight Immortals and pierced swastika fret. S. E. Kennedy Collection.
Fig. 2.—Bowl with blue phœnix medallions, pierced trellis work and characters. Wan Li mark. Hippisley Collection.
Fig. 3.—Covered Bowl with blue and white landscapes and biscuit reliefs of Eight Immortals. Grandidier Collection.
79. Wan Li Polychrome Porcelain 80
Fig. 1.—Vase (mei p’ing) with engraved design, green in a yellow ground, Imperial dragons in clouds, rocks and wave border. Wan Li mark. British Museum.
Fig. 2.—Bottle with pierced casing, phœnix design, etc., painted in underglaze blue and enamels; cloisonné enamel neck. Eumorfopoulos Collection.
Fig. 3.—Covered Jar, plum blossoms and symbols in a wave pattern ground, coloured enamels in an aubergine background. British Museum.
80. Covered Jar or Potiche (Colour) 84
Painted in iron red and green enamels, with a family scene in a garden, and brocade borders of ju-i pattern, peony scrolls, etc. Sixteenth century. Salting Collection, V. & A. Museum.
81. Beaker-shaped Vase of Bronze Form (Colour) 88
With dragon and phœnix designs painted in underglaze blue, and red, green and yellow enamels: background of fairy flowers (pao hsiang hua) and borders of “rock and wave” pattern. Mark of the Wan Li period (1573–1619) in six characters on the neck. An Imperial piece. British Museum.
82. Late Ming Porcelain 90
Fig. 1.—Jar of Wan Li period, enamelled. Mark, a hare. British Museum.
Fig. 2.—Bowl with Eight Immortals in relief, coloured glazes on the biscuit. Eumorfopoulos Collection.
Figs. 3, 4 and 5.—Blue and white porcelain, early seventeenth century. British Museum.
83. Vase 90
With blue and white decoration of rockery, phœnixes, and flowering shrubs. Found in India. Late Ming period. Halsey Collection.
84. Vase of Baluster Form with Small Mouth (mei p’ing). (Colour) 96
Porcelain with coloured glazes on the biscuit, the designs outlined in slender fillets of clay. A meeting of sages in a landscape beneath an ancient pine tree, the design above their heads representing the mountain mist. On the shoulders are large ju-i shaped lappets enclosing lotus sprays, with pendent jewels between; fungus (ling chih) designs on the neck. Yellow glaze under the base. A late example of this style of ware, probably seventeenth century. Salting Collection, V. & A. Museum.
85. Vase (Colour) 104
With crackled greenish grey glaze coated on the exterior with transparent apple green enamel: the base unglazed. Probably sixteenth century. British Museum.
86. Fukien Porcelain. Ming Dynasty 112
Fig. 1.—Figure of Kuan-yin with boy attendant. Ivory white. Eumorfopoulos Collection.
Fig. 2.—Bottle with prunus sprigs in relief, the glaze crackled all over and stained a brownish tint. Eumorfopoulos Collection.
Fig. 3.—Figure of Bodhidharma crossing the Yangtze on a reed. Ivory white. Salting Collection, V. & A. Museum.
87. Ivory White Fukien Porcelain 112
Fig. 1.—Libation Cup. About 1700. British Museum.
Fig. 2.—Cup with sixteenth century mount. Dresden Collection.
Fig. 3.—Incense Vase and Stand. About 1700. British Museum.
88. Two Examples of the underglaze red (chi hung)of the K’ang Hsi period (1662–1722), sometimes called lang yao. (Colour) 120
Fig. 1.—Bottle-shaped Vase of dagoba form with minutely crackled sang-de-bœuf glaze with passages of cherry red. The glaze ends in an even roll short of the base rim, and that under the base is stone-coloured and crackled. British Museum.
Fig. 2.—Bottle-shaped Vase with crackled underglaze red of deep crushed strawberry tint. The glaze under the base is pale green crackled. Alexander Collection.
89. Three Examples of K’ang Hsi Blue and White Porcelain in the British Museum (Colour) 132
Fig. 1.—Ewer with leaf-shaped panels of floral arabesques, white in blue, enclosed by a mosaic pattern in blue and white: stiff plantain leaves on the neck and cover. Silver mount with thumb-piece.
Fig. 2.—Deep Bowl with cover, painted with “tiger-lily” scrolls. Mark, a leaf.
Fig. 3.—Sprinkler with panels of lotus arabesques, white in blue, and ju-i shaped border patterns. A diaper of small blossoms on the neck. Mark, a leaf.
90. Covered Jar for New Year Gifts (Colour) 138
With design of blossoming prunus (mei hua) sprays in a ground of deep sapphire blue which is reticulated with lines suggesting ice cracks; dentate border on the shoulders. V. & A. Museum.
91. Blue and White K’ang Hsi Porcelain 142
Fig. 1.—Triple Gourd Vase, white in blue designs of archaic dragons and scrolls of season flowers. Dresden Collection.
Fig. 2.—Beaker, white magnolia design slightly raised, with blue background. British Museum.
Fig. 3.—“Grenadier Vase,” panels with the Paragons of Filial Piety. Dresden Collection.
92. Blue and White K’ang Hsi Porcelain 142
Fig. 1.—Sprinkler with lotus design. British Museum.
Fig. 2.—Bottle with biscuit handles, design of graceful ladies (mei jên). Fitzwilliam Museum (formerly D. G. Rossetti Collection).
Fig. 3.—Bottle with handles copied from Venetian glass. British Museum.
93. Blue and White Porcelain 142
Fig. 1.—Tazza with Sanskrit characters. Ch’ien Lung mark. British Museum.
Fig. 2.—Water Pot, butterfly and flowers, steatitic porcelain. Wan Li mark. Eumorfopoulos Collection.
Fig. 3.—Bowl, steatitic porcelain. Immortals on a log raft. K’ang Hsi period. British Museum.
94. Porcelain decorated in enamels on the biscuit 142
Fig. 1.—Ewer in form of the character Shou (Longevity); blue and white panel with figure designs. Early K’ang Hsi period. Salting Collection.
Fig. 2.—Ink Palette, dated 31st year of K’ang Hsi (1692 A.D.). British Museum.
95. Two Examples of porcelain, painted with coloured enamels on the biscuit, the details of the designs being first traced in brown. K’ang Hsi Period (1662–1722) (Colour) 150
Fig. 1.—One of a pair of Buddhistic Lions, sometimes called Dogs of Fo. This is apparently the lioness, with her cub: the lion has a ball of brocade under his paw. On the head is the character wang (prince), which is more usual on the tiger of Chinese art. S. E. Kennedy Collection.
Fig. 2.—Bottle-shaped Vase and Stand moulded in bamboo pattern and decorated with floral brocade designs and diapers. Cope Bequest, V. & A. Museum.
96. Vase of Baluster Form painted in coloured enamels on the biscuit (Colour) 154
The design, which is outlined in brown, consists of a beautifully drawn prunus (mei hua) tree in blossom and hovering birds, besides a rockery and smaller plants of bamboo, etc., set in a ground of mottled green. Ch’êng Hua mark, but K’ang Hsi period (1662–1722). British Museum.
97. Square Vase (Colour) 156
With pendulous body and high neck slightly expanding towards the top: two handles in the form of archaic lizard-like dragons (chih lung), and a pyramidal base. Porcelain painted with coloured enamels on the biscuit, with scenes representing Immortals on a log raft approaching Mount P’eng-lai in the Taoist Paradise. K’ang Hsi period (1662–1722). British Museum.
98. K’ang Hsi Porcelain with on-biscuit decoration. Dresden Collection 160
Fig. 1.—Teapot in form of a lotus seed-pod, enamels on the biscuit.
Fig. 2.—Hanging Perfume Vase, reticulated, enamels on the biscuit.
Fig. 3.—Ornament in form of a Junk, transparent san ts’ai glazes.
99. K’ang Hsi Porcelain with on-biscuit decoration 160
Fig. 1.—Ewer with black enamel ground, lion handle. Cope Bequest, V. & A. Museum.
Fig. 2.—Figure of the Taoist Immortal, Ho Hsien Ku, transparent san ts’ai glazes. S. E. Kennedy Collection.
Fig. 3.—Vase and Stand, enamelled on the biscuit. Cope Bequest.
100. Screen with Porcelain Plaque, painted in enamels on the biscuit 160
Light green background. K’ang Hsi period (1662–1722). In the Collection of the Hon. E. Evan Charteris.
101. Vase with panels of landscapes and po ku symbols in famille verte enamels 160
In a ground of underglaze blue trellis pattern. K’ang Hsi period (1662–1722). Dresden Collection.
102. Two Dishes of famille verte Porcelain in the Dresden Collection. K’ang Hsi period (1662–1722) 160
Fig. 1.—With birds on a flowering branch, brocade borders. Artist’s signature in the field.
Fig. 2.—With ladies on a garden terrace.
103. Club-shaped (rouleau) Vase (Colour) 166
Finely painted in famille verte enamels with panel designs in a ground of chrysanthemum scrolls in iron red; brocade borders. Last part of the K’ang Hsi period (1662–1722). Salting Collection, V. & A. Museum.
104. Three Examples of K’ang Hsi famille verte Porcelain 168
Fig. 1.—Square Vase with scene of floating cups on the river; inscription with cyclical date 1703 A.D.; shou characters on the neck. Hippisley Collection.
Fig. 2.—Lantern, with river scenes. Dresden Collection.
Fig. 3.—Covered Jar of rouleau shape, peony scrolls in iron red ground, brocade borders. Dresden Collection.
105. Covered Jar painted in famille verte enamels 168
With brocade ground and panel with an elephant (the symbol of Great Peace). Lion on cover. K’ang Hsi period (1662–1722). Dresden Collection.
106. K’ang Hsi famille verte Porcelain. Alexander Collection 168
Fig. 1.—Dish with rockery, peonies, etc., birds and insects.
Fig. 2.—“Stem Cup” with vine pattern.
107. Famille verte Porcelain made for export to Europe. K’ang Hsi period (1662–1722). British Museum 168
Fig. 1.—Vase with “sea monster” (hai shou).
Fig. 2.—Dish with basket of flowers. Mark, a leaf.
Fig. 3.—Covered Jar with ch’i-lin and fêng-huang (phœnix).
108. Dish painted in underglaze blue and famille verte enamels. (Colour) 172
In the centre, a five-clawed dragon rising from waves in pursuit of a pearl. Deep border in “Imari” style with cloud-shaped compartments with chrysanthemum and prunus designs in a blue ground, separated by close lotus scrolls reserved in an iron red ground in which are three book symbols. K’ang Hsi period (1662–1722). Alexander Collection.
109. Figure of Shou Lao, Taoist God of Longevity 176
Porcelain painted with famille verte enamels. K’ang Hsi period (1662–1722). Salting Collection, V. & A. Museum.
110. Two Examples of the “Powder Blue” (ch’ui ch’ing) Porcelain of the K’ang Hsi period (1662–1722) in the Victoria and Albert Museum (Colour) 182
Fig 1.—Bottle of gourd shape with slender neck: powder blue ground with gilt designs from the Hundred Antiques (po ku) and borders of ju-i pattern, formal flowers and plantain leaves.
Fig. 2.—Bottle-shaped Vase with famille verte panels of rockwork and flowers reserved in a powder blue ground. Salting Collection.
111. Two Examples of Single-colour Porcelain in the Salting Collection (Victoria and Albert Museum). (Colour) 186
Fig. 1.—Bottle-shaped Vase of porcelain with landscape design lightly engraved in relief under a turquoise blue glaze. Early eighteenth century.
Fig. 2.—Water vessel for the writing table of the form known as T’ai-po tsun after the poet Li T’ai-po. Porcelain with faintly engraved dragon medallions under a peach bloom glaze; the neck cut down and fitted with a metal collar. Mark in blue of the K’ang Hsi period (1662–1722) in six characters.
112. Three Figures of Birds, Late K’ang Hsi Porcelain, with coloured enamels on the biscuit 192
Fig. 1.—Stork. British Museum.
Fig. 2.—Hawk. S. E. Kennedy Collection.
Fig. 3.—Cock. British Museum.
113. Porcelain delicately painted in thin famille verte enamels. About 1720 192
Fig. 1.—Dish with figures of Hsi Wang Mu and attendant. Ch’êng Hua mark. Hippisley Collection.
Fig. 2.—Bowl with the Eight Immortals. S. E. Kennedy Collection.
114. Hanging Vase with openwork sides, for perfumed flowers 192
Porcelain painted in late famille verte enamels. About 1720. Blackwood frame. Cumberbatch Collection.
115. Vase of Baluster Form (Colour) 206
With ornament in white slip and underglaze red and blue in a celadon green ground: rockery, and birds on a flowering prunus tree. Yung Chêng period (1723–1735). Alexander Collection.
116. Yung Chêng Porcelain 208
Fig. 1.—Imperial Rice Bowl with design of playing children (wa wa), engraved outlines filled in with green in a yellow ground, transparent glazes on the biscuit. Yung Chêng mark. British Museum.
Fig. 2.—Blue and White Vase with fungus (ling chih) designs in Hsüan Tê style. Cologne Museum.
117. Yung Chêng Porcelain 208
Fig. 1.—Vase with prunus design in underglaze red and blue. C. H. Read Collection.
Fig. 2.—Imperial Vase with phœnix and peony design in pale famille verte enamels over underglaze blue outlines. V. & A. Museum.
118. Early Eighteenth Century Enamels 208
Fig. 1.—Plate painted at Canton in famille rose enamels (yang ts’ai “foreign colouring”). Yung Chêng period. S. E. Kennedy Collection.
Fig. 2.—Arrow Stand, painted in late famille verte enamels. About 1720. V. & A. Museum.
119. Yung Chêng Porcelain, painted at Canton with famille rose enamels. British Museum. 208
Fig. 1.—“Seven border” Plate.
Fig. 2.—Eggshell Cup and Saucer with painter’s marks.
Fig. 3.—Eggshell Plate with vine border.
Fig. 4.—Armorial Plate with arms of Leake Okeover. Transition enamels, about 1723.
120. Covered Jar or Potiche, painted in famille rose or “foreign colours” (yang ts’ai) with baskets of flowers (Colour) 222
Deep borders of ruby red enamel broken by small panels and floral designs. On the cover is a lion coloured with enamels on the biscuit. From a set of five vases and beakers in the Collection of Lady Wantage. Late Yung Chêng period (1723–1735).
121. Two Beakers and a Jar from sets of five, famille rose enamels. Late Yung Chêng porcelain 224
Fig. 1.—Beaker with “harlequin” ground. S. E. Kennedy Collection.
Fig. 2.—Jar with dark blue glaze gilt and leaf-shaped reserves. Burdett-Coutts Collection.
Fig. 3.—Beaker with fan and picture-scroll panels, etc., in a deep ruby pink ground. Wantage Collection.
122. White Porcelain with designs in low relief 232
Fig. 1.—Vase, peony scroll, ju-i border, etc. Ch’ien Lung period. O. Raphael Collection.
Fig. 2.—Bottle with “garlic mouth,” Imperial dragons in clouds. Creamy crackled glaze imitating Ting ware. Early eighteenth century. Salting Collection.
Fig. 3.—Vase with design of three rams, symbolising Spring. Ch’ien Lung period. W. Burton Collection.
123. Eighteenth Century Glazes (Colour) 236
Fig. 1.—Square Vase with tubular handles, and apricot-shaped medallions on front and back. Flambé red glaze. Ch’ien Lung period (1736–1795). British Museum.
Fig. 2.—Bottle-shaped Vase with deep blue (ta ch’ing) glaze: unglazed base. Early eighteenth century. British Museum.
Fig. 3.—Vase with fine iron red enamel (mo hung) on the exterior. Ch’ien Lung period (1736–1795). Salting Collection, V. & A. Museum.
124. Miscellaneous Porcelains 240
Fig. 1.—Magnolia Vase with flambé glaze of crackled lavender with red and blue streaks. Ch’ien Lung period. Alexander Collection.
Fig. 2.—Bottle with elephant handles, yellow, purple, green, and white glazes on the biscuit. Ch’ien Lung period. British Museum.
Fig. 3.—Dish with fruit design in lustrous transparent glazes on the biscuit, covering a faintly etched dragon pattern. K’ang Hsi mark. British Museum.
125. Ch’ien Lung Wares. Hippisley Collection 240
Fig. 1.—Brush Pot of enamelled Ku-yüeh-hsüan glass. Ch’ien Lung mark.
Fig. 2.—Bottle, porcelain painted in Ku-yüeh style, after a picture by the Ch’ing artist Wang Shih-mei.
Fig. 3.—Imperial Presentation Cup marked hsü hua t’ang chih tsêng.
Fig. 4.—Medallion Vase, brocade ground with bats in clouds, etc. Ch’ien Lung mark.
126. Vase with “Hundred Flower” design in famille rose enamels. 240
Ch’ien Lung period (1736–1795). Grandidier Collection, Louvre.
127. Vase painted in mixed enamels. The Hundred Deer. 240
Late Ch’ien Lung period. Grandidier Collection, Louvre
128. Ch’ien Lung Porcelain. British Museum 248
Fig. 1.—Vase with “rice grain” ground and blue and white design.
Fig. 2.—Vase with “lacework” designs. Ch’ien Lung mark.
Fig. 3.—Vase with the Seven Worthies of the Bamboo Grove in lac burgauté.
Fig. 4.—Vase with “robin’s egg” glaze.
129. Octagonal Vase and Cover, painted in famille rose enamels 248
Ch’ien Lung period (1736–1795). One of a pair in the Collection of Dr. A. E. Cumberbatch.
130. Vase with pear-shaped body and wide mouth; tubular handles (Colour) 254
Porcelain with delicate clair de lune glaze recalling the pale blue tint of some of the finer Sung celadons. About 1800. British Museum.
131. Eighteenth Century Painted Porcelain 264
Fig. 1.—Plate painted in black and gold, European figures in a Chinese interior. Yung Chêng period. British Museum.
Fig. 2.—Dish with floral scrolls in famille rose enamels in a ground of black enamel diapered with green foliage scrolls. Ch’ien Lung period. Wantage Collection.
132. Vase painted in mixed enamels, an Imperial park and a bevy of ladies 264
Deep ruby pink borders with coloured floral scrolls and symbols. Ch’ien Lung mark. About 1790. Wantage Collection.
133. Late famille rose enamels 280
Fig. 1.—Bowl painted in soft enamels, attendants of Hsi Wang Mu in boats. Mark, Shên tê t’ang chih. Tao Kuang period. British Museum.
Fig. 2.—Imperial Fish Bowl with five dragons ascending and descending, borders of wave pattern, ju-i pattern, etc., famille rose enamels. Late eighteenth century. Burdett-Coutts Collection.
134. Porcelain Snuff Bottles. Eighteenth Century. British Museum 280
Fig. 1.—Subject from the drama, black ground. Yung Chêng mark.
Fig. 2.—Battle of demons, underglaze blue and red. Mark, Yung-lo t’ang.
Fig. 3.—Blue and white “steatitic” ware.
Fig. 4.—Crackled cream white ting glaze, pierced casing with pine, bamboo and prunus.
Fig. 5.—“Steatitic” ware with Hundred Antiques design in coloured relief. Chia Ch’ing mark.