Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
a handbook of
CHINESE ART
A Handbook
of
Chinese Art
is
a basic guide.
:,;
iO
and
dealers and students of Chinese art and anIn this book. Margaret Medley,
Curator of the Percival David Foundation of
Chinese Art. fills the widely felt need for a
tiquities.
handy guide
Each
section
duction to
tions,
of
to
Chinese
and
arts
consists
general intro-
of
crafts.
its
listed
Chinese
The
art.
sections of the
defini-
book cover
most important
nese
by
Buddhism
to
art.
A Handbook
ing
welcomed
of
as
Chinese Art
Chinese
more
is
already be-
a wealth of infor-
a single cover
so for the
most welcome,
is
7 The
Arts
handy book,
"This
is
easy to use.
It
will
bdek
fir
$5.00
co
CENTRAL REFERENCE
S =
HANDBOOK
OF
CHINESE ART
for
and students
collectors
MARGARET MEDLEY
HORIZON
PRESS PUBLISHERS
NH'.V YOR--C
r_".
New
Avenue
Fifth
COPYRIGHT
1964 BY
LTD
York House. Portugal Street,
G.
Library*
AND
SON'S,
London
WC2
BELL
:::;:; i
:::
Great Britain
0366
PREFACE
The terminology of the arts and crafts of Europe is generally well
known, a number of excellent handbooks, primers and guides,
easily available to
over the
last
few years.
Glossary
no such
The
familiarity, representing as
it
present
handbook assumes
does an attempt to
fill
are, in the
this
main,
limited to those
Chinese
is
divided.
art
and culture
is
comprehensive dictionary of
art
present instance
less
One
exist, in
ceramics.
This
is
the absence of
all
illustrations, the
separate publication.
note
is
a short list of useful books has been added, which will, I hope,
prove helpful to those wishing to delve more deeply into the
subjects in
which they
are interested.
Only books
in English are
PREFACE
many of these
will be
Decorative Art.
who
In the
have received
much
help,
patiently given,
so generously given
me
their time.
Margaret Medley
CONTENTS
....
Preface
page
ii
Note on Pronunciation
12
Bronzes
13
Buddhism
46
Ceramics
58
Decoration
91
106
Painting
112
Miscellaneous
125
Societies
Collections
and
131
ILLUSTRATIONS
Map
of China
8,9
Plates 1-9
Bronzes
Plates 10-11
Ceramics
Plates 12-14
Decoration
Plate 15
Jades
Plates 16-20
Painting
61, 75
93, 97, 103
109
113, 115, 117, 119, 121
128, 129
Tun-huang
*uSa
--
?HU
<
v.
h
/
KUn-TTiirur
}^^ V U
KK
AW
KUE1CH0U
V?
/:
?
/
HUNA
s
/
^Vfunkang
Tehing
>
^Ting-chow
^u c
^ \ Chu-lu/Hsien
'
y Nanking]
'
f^-v/ANHUL
HanJ&w
Hangchou,
^Hsiang-huS ^.Yugi-chou,(Shao-hsing)
^hYu-yao
.
^^^J-S
iChing-teChen ^J
/)
(L^
l^
Lin-ch'iian
J
Li-shi+iJ&v'u-chou)
C" \\ ^Lung-Milan
A^Chien^ang
j[Chi-chou)' j
YThEKIANQT
Nan-ch'anq
*i
Chien^in
-hua%
Ch
"?0-c^
^W G
Canton
'Ctiuan-chou
TAIWAN
Hong-Kong
7O0
i
^00
_l
Miles
See overleaffor
Key
to the
map
500
sites
Buddhist
sites
Lung-men (Honan)
Lung-shan (Shantung)
P'ing-ling Ssii (Kansu)
Tun-huang (Kansu)
Yii-t'ang Shan (Shantung)
Yunkang
(Shansi)
centres
Chi-an (Kiangsi)
Chien-an (Fukien)
10
Chien-yang (Fukien)
Ching-te Chen (Kiangsi)
Chti-lu Hsien (Chihli)
Chun-chou (Honan)
Hsiang-hu (Kiangsi)
Ju-chou (Honan)
Li-shui (Chekiang)
Lin-ch'iian (Kiangsi)
Lung-ch'uan (Chekiang)
Nan-ch'ang (Kiangsi)
Te-hua (Fukien)
Ting-chou (Chihli)
Tz u-chou (Chihli)
Yi-hsing (Kiangsu)
Yii-yao (Chekiang)
Yueh-chou (Chekiang)
Historic ports
Amoy
(Fukien)
(Yin)
c.
Chou
c.
Warring
Chin
Han
1500
Six Dynasties
c.
1028 b.c.
1027-249
b.c.
221-206
B.C.
b.c.-a.d.
220
206
a.d. 221-589
Sui
581-618
Tang
618-906
Five Dynasties
Sung
907-960
960-1279
Yuan
(Mongols)
Ming
Hung-wu
Chien-wen
Yung-lo
Hung-hsi
Hsuan-te
Cheng-t'ung
Ching-t'ai
Tien-shun
Ch'eng-hua
1280-1368
1368-1398
1399-1402
1403-1424
1425
1426-1435
1436-1449
1450-1457
1457-1464
1465-1487
Hung-chih
Cheng-te
Chia-ching
Lung-ch'ing
Wan-li
4
T*ai-ch ang
T'ien-ch'i
Ch'ung-cheng
Ch'ing
Shun-chih
K'ang-hsi
Yung-cheng
Ch'ien-lung
Chia-ch'ing
1644-1661
1662-1722
1723-1735
1736-1795
1796-1820
Tao-kuang
Hsien-feng
Kuang-hsii
Hs iian-t'ung
1368-1644
1488-1505
1506-1521
1522-1566
1567-1572
1573-1619
1620
1621-1627
1628-1643
1644-1912
1821-1850
1851-1861
1862-1873
1874-1908
1909-1912
II
NOTE ON PRONUNCIATION
The pronunciation of Chinese words
is fairly straightforward
following selection of approximate equivalents is followed.
if the
Initial consonants
ch, k, p,
t, ts,
and
hs, is a soft S
tz are hard, as j, g, b,
are
all soft as
t, ts,
tip
dz in English.
t-, ts-,
dz-, in English.
ssu
like a
is
but
is
somewhat
is
je,
like
an R.
similar.
Vowels
always long.
a, is
ai, is
ao,
e,
is
en,
ow'
as in 'cow'.
French eu
as in
'fleur'.
e,
i,
or eh, as in French
e.
as 'ee' in 'see',
has
ih,
no good English
'or',
ou, as in 'although'.
u, like oo.
xi is
12
narrow
like the
French u in
'tu'.
first
syllable
of
BRONZES
Although,
as
Dr. Joseph
major role in
became general, it was copper in various alloys which provided
the main material for the makers of metal vessels, mirrors and the
The
like, coins, as well as weapons down to Han times at least.
also
and
fired
moulds,
iron
moulds,
clay
in cast
alloys were cast, in
by the cire-perdue method, and were finished when cold by various
standard metalworking techniques.
Copper (melting-point 1,083 degrees Centigrade) occurs
widely in China. The metal in its pure form is rather soft, but
alloyed with tin to
increased,
facilitates its
working.
fairly constant
ever,
make bronze
its
is
hardness
is
substantially
In China,
how-
common.
The
lead which,
unlike the added tin, does not dissolve in copper, remains suspended in globular form in the melt and, by improving the flow,
greatly reduces the risk of surface bubble flaws in the casting.
A lead-tin alloy has the additional advantage of being easier to
work with gravers and chisels when cold. Chinese casters also
made use of copper-lead alloys, particularly in coinage, where
its
use
may
siderations.
Axes
Lead may be included in
of the
may
latter
be
as
high
is
as
as-
nomads of
the
Eurasian
including
the
Chinese
Steppe,
The
of two fairly
evenly matched opponents such
as two stallions, or a tiger and an
eagle, in violent combat.
The
interpretation of the motive is
vigorous and strongly linear.
See Ordos.
[la].
motive
consists
Animal
Style.
See
Ordos.
k'uei
dragon
creature
is
a variant
(q.v.) in
which
distributed
into
ing the
crest,
body, and the third one containing the nostril, lower jaw, foot or
claw, and the lower part of the
body. As a decorative element
it is confined to Shang and Early
Chou.
[16].
Animal Tsun,
the
form
of an
PLATE
Band,
i]
1.
c-f]
is
vessel in
animal.
[It],
BRONZES,
alloys, the
these
up
to
proportion
30 per cent.
is
Early Chou,
Huai
style
re-appears in the
it
in a modified
(q.v.)
form.
Dragon
[1/],
Scarlet
Bird
[le],
Sum-
the
[Id],
West
and
Autumn.
Axes,
are
socketed type
is
more
varied in
from
types
generally
tangs protruding
of the
shaft,
ornamented with
may
be
turquoise inlay.
Animal Tsun.
14
wine
BRONZES
-fr
j]
a]
Bird Tsun.
II
PLATE
Belt
Hook
The
blades vary
form,
spatulate
that
may
form
ribbed, ro a
European
from
simple
be
with
battle-axe,
wide
some-
is
also oc-
casionally perforated.
is
The tanged
Chou;
Early
type
current
is
the
socketed
throughout the
Hook,
Belt
hook
with
with
a stud at
hook
at the
The
along
its
be ornamented
whole length, or only at
from the
hook.
[lg].
may
shaft
show
proportioned
vary consider-
a gentle, beautifully
S-curve.
ably
as a
The}'
complex decora-
made
(in
Huai
style),
PLATE
Chia.
c]
Cicad.
16
is
rai-kou.
commonest
periods.
when
bird
In
Huai
the type
is
in
style
these
two
examples,
revived, using
as a rule the
opening
is
back.
may
similar to the
and
alter the
BRONZES,
2.
J]
Chiao.
Ch une.
c]
Bottle
t'ao-t'ieh
k'uci
slightly flared
in
all
ulti[2a],
k]
a]
Chih.
Bhca
PLATE
Bronze Disease
Chiao
Bronze Disease,
powdery
pale green
is
-fr
by
indicated
spots or lines,
by
presence of
which form an un-
contaminating
the
chlorides,
cuprous
stable
This
chloride.
museum
conditions,
destructive
the
chlorides,
it is
and to halt
of the
action
necessary to elimin-
ical
treatments are
known and
museum
laboratories
used
in
specialising in
of
treatment
conservation, but
a
bronze
no
is
may
not occur.
There are
and the decoration
usually consists of t'ao-t'ieh masks
no
bosses,
(q.v.)
on each
curving
slightly
nnd-section.
Middle Chou
period, when it makes its appearance, and of the Huai and Han
of the
Typical
bronze
vessels.
and
The
side.
straight
is
short
name
nao to
[2h].
See Axes.
Ch'i.
Chia, a wine
vessel
somewhat
(q.v.)
but
instead
wide
circular
It
or
rectangular
handle
BRONZES
lip axis.
In
some
cases the
legs
the
is
may
in this
is
Decoration,
term
Chou
periods.
[2c].
wine
vessel
[2b].
Cheng,
elliptical
18
clapperless
section,
the
bell
of
long
Chiao,
Chou
periods.
[2d].
BRONZES
Chien
ft
It
is
also
suggested
it
(q.v.).
The hollow
foot
is
Chiieh
generally
Decoration tends to be
rather restrained on this type of
vessel, which is confined to the
splayed.
The name
correct.
[2k].
Ching.
See Mirrors.
in, as
Surviving
Chio.
See Chiao.
Chiu.
See Kuei.
[2/].
Chien,
feet,
with
The
rib.
largest
on record
is
feet in
inches,
the
as to
so fashioned
jade.
some
of
common
Chou period
Han Dynasty.
in the Late
and during
the
Chronology.
See Phase.
of narrow
section.
for pouring,
and opposite
and extended
flattened
is
or circular
elliptical
It
a loop handle
on the
there
side
of the
legs
At the root of
two short capped
columns, one on each side. If
spread a
little.
generally
appears
on
the
slightly flared
wide
with a
mouth and fairly
a drinking vessel
belly,
section,
but
usually
circular
occasionally
in
oval.
body
the
the
Chih,
this a
lip;
type
made
as
The
Chou, and
it is
19
Ch'un
&
Ch'un.
See Tin.
BRONZES
Chung,
forms,
a bell.
all elliptical
narrowing a
top.
is
occurs in three
It
little
In the
[2/].
in section,
and
towards a
flat
first
form
there
a shaft rising
the
flat
top,
the shaft
is
has a
narrow
flat surface;
as
chime in
frame, and
known.
sets
Very
stout
wooden
large
examples,
feet in height,
at the
PLATE
3.
in
realistic
its realistic
as a
stylised
form
usually
occurs in
[2/].
BRONZES,
a]
own
its
tail,
varies
of up to 16 are
measuring about 3
each
style.
to
g-h]
PLATE
Compound Lozenge
with Spikes
Fang-i
art
&
crocodile skin.
made
entirely
wide horizontal
Compound
Lozenge
A rectangular decorative
Spikes.
element, having
lines
with
on each
from two
side,
to four
with a circular
BRONZES
striking surface,
body; the
cases,
crouching
frogs.
The type
is
Cosmic Mirrors
hero,
It
occurs in the
tion in the
are
those
on
Chinese
1939).
Bronzes, (London,
[3c]
associated
See K'uei
Dragons.
Drums
on
with
hide; one celebrated example of
Shang date is made entirely of
bronze, the closed ends being
cast with a pattern that simulates
22
style current in
tween
of
1028 and
c.
This style
c.
900 B.C.
of that
a continuation
is
Shang
(q.v.)
with
certain
hook
that
(q.v.)
become
elaborately
that
the
distinction
be-
Dragons.
Chu-ko Liang.
Fang-i, a rectangular casketshaped vessel with a cover resembling a hipped roof, which is
surmounted by
knob of similar
bronzes
shape.
is
Flanges Gourd
^V
peculiarity
of the foot
named in the
name it now
inscriptions
and the
was given in
bears
usually
It is
among
included
wine
the
vessels.
Hu
sectionj
and
Chou,
decoration
the
of
with
shaped,
t'ao-
dragons
(q.v.)
and
t teh
A few specimens carry
(q.v.).
only one or two narrow bands of
[3/1.
on
vessels
Chou
amples.
held
the
Han
periocl>
[3^
Fu
&f AxE$
*?"' a
rect angular.
handles
ring
is
k uei
the
It is
Hu
in
flanges are
only
some
difference being, in
^
^
?***> the
handles on the
of two loop
sldes '
kk
so
^^
be
n
^
removal and used as another dish
This cla^ of vessel was introduced
m Mlddle
Chou
> dl
Glutton Mask.
See T'ao-t'ieh.
make
the
moulds more
is no doubt
they
serve
to
make
the
junctions
reduced to
little
more than
fins.
Gourd Hu,
a variation of the hu
shaped like an elongated
(q.v.),
gourd,
stead
circular
in
section.
of ring handles,
it
In-
has
body
below the Up; the cover,
where this survives, is sometimes
in the form of a squatting bird,
The type only occurs in the Huai
the other end meeting the
just
style (q.v.).
[36].
23
Green Dragon
Green Dragon.
P'u-t'ao,
bronzes
Animals
literally, sea-
name given
See
Hai-ma
&
inlaid
origin
is
obscure;
two
possible
blade
tip
the
Ho,
legs,
is
objects
of
antiquity.
that
first,
mountain
the
directed
decoration
ward;
form
surmounted
by
is
an
is
body by
When
is
short
Karlgren.
up
to a central peak.
The
chain.
differ
handle
and
and
[3k],
The hemis-
of the
hill,
could emerge.
vessel
holes
pherical bowl, in
the
is
third, the
[3/].
background
and occamotive on
filler,
sionally as a border
BRONZES
Hsi
ft
a triangular
curl at
Huai
hook with
style.
a tight
wine storage
vessel current
Han period.
In Shang and Early Chou two
One was
types were, common.
continuing into the
one end.
of vessel
Hu,
Huai Style
This type
tall
and
slender, often
with a cover
and used as
section
[4b].
in
elliptical
more
circular in
decorated.
was
was
section,
made and
heavily
with
rather
usually
richly
cylindrical fittings
decorated
t'ao-t'ieh
(q.v.).
Hsien
mal
lugs
the
Huai
Hsu,
See Yen.
(vessel).
foot
by
is
sometimes re-
section,
are
on
the neck.
style,
[4c].
In
set vertically.
Han
ceases to
casting,
Hu
and
Gourd Hu.
Huai Style
is
the
Karlgren to the
name given by
style
of bronze
The
beginning of the
Han Dynasty in 206 B.C., the point
in time conventionally regarded
as marking the end of the Bronze
Age, although iron had been in
placed
four
animals.
vessel occurs
[44
class (q.v.).
B.C.
until the
25
Huai
Style
-Jingles
-fr
The
purposes,
through the
derives
from
the
is
I, a
sauce boat.
[4e].
It
appears
first
in the
and the
Chou
developed Huai
style, may have slender S-curving
legs, and in the mature Huai style
there
is
foot at
ally
fully
either a foot-ring, or
all.
The handle
is
no
gener-
head, the
t'ao-t'ieh (q.v.),
and
eye-balls
standard of craftsmanship
The
name Huai
BRONZES
now
it is
hook
and
volute,
scale
ball,
dot
explanatory.
PLATE
g] Ladle.
26
to
filling,
(See
Triple LozVolute.)
Hook and
enge and
BRONZES,
4.
//]
a-c]
K'uei Dragons,
j]
Hu.
surmounting a socketed
shaft
on harness, or on a chariot.
The more complex form has two
of these openwork spheres with
balls, each on an arched shaft
and triple
lozenge, most of which are selfpattern,
fit
d] Hsii.
Jingle,
j]
Ko.
e]
k]
I.
/]
Ku.
Interlocked
/]
Kuang.
s.
PLATE
Ko Kuang
ft
from each end of a bowshaped bronze mount. The precise purpose of this more complex
type is not known, but it seems
likely that they were fixed to the
rising
which they
Ko,
date.
[4/].
weapon
In either case
has a characteristic
Ku,
BRONZES
tall,
Chou
only.
Ku.
See
[4k],
either straight
tangular,
curve.
is
or droops in a slight
extension
upwards.
may
Han
weapon
main
In
nei
In the
is
rather
blade, in-
with a
may
slight inclination
be cast
upwards.
Kuang, a jug-shaped
tical
vessel, ellip-
or rectangular in section, on
splayed
slightly
spout
is
foot.
The
is
elaborate.
usually in the
The
form of an
decoration
is
Chou.
28
Drums.
[4/].
BRONZES
Li
&
Kuei
two
has
generally
handles,
were
probably
lighter ones
lacquer.
superseded
made of
by
pottery or
[4g\.
It
has
some
have
On the
that of the fang-i (q.v.).
lower part of the body are animal
plest
on
to
three
specimens
The
most ornate.
the
small
of
feet
this
[5c];
period
covers.
in bronze decoration.
referred to
[5h].
heads in
K'uei Dragons.
like animals,
in profile, as
They are
by Karlgren simply as
They occur
relief,
Lei-wen,
See
Thunder
Pattern.
in a modified
been
be
retained for the sake of convemence.
their
lost,
may
legs, in
[5 d, e].
end
on
the
of long, well-ornamented
handles having a slight S-curve.
It is
basic-
merged
Lien
Ming
fire.
may have
It
In Shang and
handles
earlier periods.
]peen used in
was
It
common
(see
to Shang,
Early
Chou
Early
the
rose
directly
BRONZES
^r
in
sels
such
and Hsii
Kuei
Certain
as the
Fu
(q.v.) are
new ves-
(q.v.), I, (q.v.)
introduced; the
undergoes
(q.v.)
modification
by being
radical
raised
on
Lien,
a cylindrical vessel
is
on
three
form of squatting
large
number of
derrated,
some
others
are inlaid
unand
with gold and
lien
are
are
gilt,
The
vessel
to
said
exhibiting
become
little
in
[5/].
Mao.
more than
priate
PLATE
5.
h] Lei.
i]
30
number of
Ku
Ming, an almost
spherical vessel
name given by
BRONZES,
Lien,
entries).
handles
the
fins
(q.v.)
See
See Spearheads.
Middle Chou,
the
quite
Flanges
proportions.
different
(q.v.)
resembling
legs,
leg,
Ling,
The
a-c]
Kuei.
j] Scale Bands,
k]
on
the shoulder.
one of these
d-e] Li.
P'ou.
vessels
/] Ling,
l-m] P'an.
g]
has
Only
been
Shan Mirror.
;E>));~)Jfc^?([(S(
PLATE
Mirrors
P'an
BRONZES
-fr
certainly identified
by
its
inscrip-
Nao.
Cheng.
See
tion; tins
Nei.
first
known
water
as chien (q.v.)
The
Ordos.
semi-desert region
bend of the
Yellow River. The relics of the
art of this region are associated
with the Bronze Age animal style
within
Ko.
See
the
common
great
The
was
gradually
round
boss.
into
appears.
uncertain,
nomadic
whole
changed.
atmosphere
artistic
The
or
foliated.
No
mirrors
when
may be lobed
Han
were
period,
are
handle running
out from the rim is also found.
circular; a straight
32
The
is
which
common
of
races
rarely
the precise
style,
human form
the
minals;
to
is
the
whole
the
of the
style are
Examples
extremely
difficult
two
best
sistent
are
later.
motives in
known
this
The
per-
animal art
Animal Combat
and the Coiled
as the
Motive (q.v.)
Beast Motive (q.v.).
P'an, a wide
bowl
raised
on
circular,
shallow
a spreading foot
BRONZES
[5/];
Patina
-fr
generally
ology
have
been
employed. In the present book a
classification based on that of
Karlgren has been used, but the
term Shang (q.v.) has been preferred
Karlgren' s Yin.
to
The
Chou.
Bronze patina, familiar
to, and much admired by collectors, is the result of exposure to
oxidizing conditions, either of
The
burial, or of atmosphere.
first oxide layer, which is purPatina.
This
cuprite.
may
later
is
the second
styles in
called
become
Pien Hu.
See Flat
Hu.
blue
chite.
Owing
Huai
style decor.
to inadequate pol-
ing, or imperfect
mixing of the
Po-shan-lu.
.See
Hill Jar.
variations
in
the
and
on any one
number of
colour
There are a
problems in this connection that
have to be solved by future
piece.
research.
See
Water Patina
with
vessel,
mouth and
con-
finished
is very
Confined to
Shang and Early Chou, but a few
may be later. [5k].
slightly
splayed.
See Hsi.
species;
a herbi-
thus an eagle or
33
Spearheads
The motive
[6a],
interpreted
is
See
Ordos.
he
out his
set
their
See
The
chronology.
sels
Rope
Li-ting, Yu,
for
the
styles
and
criteria
of bronze
classification
BRONZES
-fr
chief ves-
Huai
Pattern,
an element of
Chiieh and
style decoration.
Ku and
Tsun, Fang-i,
related
its
forms Chi a,
Band,
Scale
Chou
Middle
scales
an
element
decoration,
in
the
Scarlet Bird.
Animals of
See
Shan Mirrors
is
after
'mountain'.
four
repeated
round the
which
Ting disappear
except the
all
(see the
appropriate
names
Karlgren
33
shan,
Chou,
entries).
in bands.
the
The element
or
five
central loop,
For
times
with the
Sino-Siberian
Ordos.
Style.
See
Sombre Warrior.
See
[5?]-
first
historical
that
dynasty,
two
called
Yin by Karlgren
names
PLATE 6.
heads,
34
d]
BRONZES,
(the
a]
on
narrow
in
the
last
leaf
generally becomes
few
b]
shape,
which
more
slender
centuries
Spoon,
c]
B.C.,
Spear-
g-h] T'ao-t'ieh.
30000
00000000000
Spiral
Horns
T'ao-t'ieh
&
BRONZES
imparted by the
plume
flutter a
silver,
chite, or
has
vives,
These
Horns,
an element of
Middle Chou decoration occurring on free standing animal heads.
The
materials.
where
either
this
sur-
central
ring
known among
are well
the centre.
periods.
are rather
short,
flat
ornamented; they
originals
with
may
made of
a fairly
richly
be based
shell.
[8/].
is
essen-
is
They
vessels
on
lid,
tially a
Spoons
these
rectangular
tassel.
Spiral
combinations of two or
more of
there
[6d];
for this
'four-petal
origin
its
motive
is
is
ssu-pan hua-wen,
flower
pattern',
probably not
but
floral.
[6b].
Spring and
Autumn
Annals,
Period of. This term in connection with bronze design and
decoration
is
no longer
current,
by
the
Square Hu,
hu
(q.v.)
a rectangular
with
ring
handles.
PLATE
7.
36
type of
mask-mounted
Decoration
BRONZES,
a-d]
is
as
known
form; or
it
is
may
the best
occur
background
Thunder Pattern
as a
variant in the
filling
known
(q.v.).
as
[6e, f]-
Ssu-pan Hua-wen.
with Crescents.
Tai-Kou.
See
See
Square
Belt Hooks.
ao-t'ieh.
PLATE
<&
number of variant
most of which can be
great
forms,
mainder
the re-
indeterminate.
In practice
la].
h,
[6g,
being
it
may
Ten Stems,
60-year cycle.
from the
differs
It
true
k'uei
is
detached
of
parts.
[7&,
apparently
The
c].
unrelated
general ex-
to the benign.
the motive
less
pression varies
is
common, but
ciated
in
to
make
resembles
more
it
five
in bronze inscriptions
common
feature
mirrors of the
and are a
of some of the
Han
period,
Thunder Pattern.
Squared or
forming a backfilling
motive is the
commonest form, but tight S-
rounded
ground
spirals
curves as a decorative
filler is also
where
the
Chou
style,
with
form
Huai
pairs
bronzes
pieces.
Called lei-wen
by
PLATE
e]
though
[Id].
i]
it is
In a simplified
8.
BRONZES,
Square Hu.
38
form
j]
it
has
a-d] Ting,
Tiger Tally,
k]
Tsun.
To.
/]
f] Ting,
TLV
Mirror.
g]
Tou.
h]
Tui.
PLATE
Tins
Tou
->
spine,
line
of
when
Most of these
from the Han period
and many of them are gilt. They
vary in length from 2 or 3 inches
fitted
together.
tallies
date
much
to as
Ting,
as 9 inches.
[8/].
legs;
The
rectangular
type
the
influence of
Buddhism
func-
its
temples.
TLV
in
Not
the
other.
BRONZES
all
TLV mirrors
only
are inscribed,
Han period.
and
to the
[8/].
is
Chou
periods
two periods
[8c];
during these
some round
form of
birds or animals standing on their
tails, and supporting the vessel on
there are
examples with
legs in the
the
slight
bowl of
becomes shallower.
The handles do not always
[8/].
rise directly from the rim, but
may spring from the body below
and bend round and upward. In
the Huai style period the vessel
acquires a domed cover, sometimes ornamented with crouching
type
may
be perforated for
it
may
vessel
curve.
[&d].
tinued to be
40
Tou,
wide bowl on
spreading foot in
Later the
more
foot.
its
high,
form.
high and
earliest
bowl gained
is
common
to
all
three
stylistic periods,
Huai does it
which may be
made as
to become an additional bowl
when it is removed and reversed.
cover,
so
BRONZES
&
Triple Lozenge
Han
many
and in the
occurs in
bronze.
beside
by
originally
called
Karlgren,
it
as a rule
other way.
have
been
decorated in any
The type
used
Tsun,
generally
who
'zig-zag
periods.
[Sh].
Tui.
made
in
two
identical
massive
with
wine vessel,
broad body,
sloping
shoulders,
and
spreading.
The
decoration tends
some
(q.v.) that
halves.
[9/J.
well-shaped
said to
military
purposes.
Introduced
is
for
it
other mediums
The term was
introduced
lozenge'.
and
period,
not
it is
Warring States
may come
right
up
to
Twelve Branches,
or
Duoden-
period.
Warring
This
the edge
period.
and wide
at the top,
on which
is
mounted on one
tiger;
Chou
[9c, d].
4i
Patina
:r
latter
Yu
BRONZES
of the J-Iuai
part
stylistic
period.
Water Patina
found on Chinese
This type of patina
e times
res.
dry
is
widespread that
vulnerable
to
disease
it
is
than
less
an
Ya-hsing,
The term
Ya-shaped.
given to a curious
literally
is
Shang period.
Yen,
for
The
vegetables.
sembles the
base
re-
or the tino
(q.v.)
li
steamer
encrusted patina,
(q.v.),
fact
not
is
in
way damaged.
any
Patina.
Wavy
Line,
dulating
an
element
oi
pattern
often
inter-
Whorl
Circle is an element in
Shang and Early Chou bronze
decoration consisting of a low boss
with spirals curling in towards the
centre, usually four or five, the
centre of the boss sometimes being
given added emphasis by the
e-f]
42
is
usually
9.
Whorl
BRONZES,
Circle.
a-h]
g\ Ya-hsing.
parts,
If the vessel
is
cast in
one
piece,
the
upper
and
usually hinged,
lower
It
parts
is
appears in
all
some of those of
Middle Chou being rectangular, and those of the Huai
stylistic periods,
the
on
m
Yu,
wine
to
varying a great
vessel,
deal in shape
from
tall
and slender
almost uni-
Wavy
h]
made in two
style
White
PLATE
handles.
(q.v.).
at
according to whether or
legs are hollow.
The
the
Yen.
Line,
i]
c-d]
Vertical
Triple Lozenge,
j]
Scales.
Yu.
*mmm
e
PLATE
Yii
Zig-zag Lozenges
toot,
TT
birds' feet,
is
up
to 2 inches
into
with
high
bent
spreading.
The
and
slightly
swing handles are frequently surmounted by animal heads at the
point at which they connect with
Produced
the lugs on the body.
in Shang and Early Chou; those
ot
the latter period have a
tendency towards extremes in
ornate treatment of form and
decoration.
vessel
is
44
not
It
has
(q.v.).
common,
apparently
far
as
is
known on
with which
this
kuei
vessel
is
times confused.
See Axes.
wide-mouthed wine or
a
cylindrical
and
two
The
[9/].
body
handles
ear
Yiieh.
Yii,
splayed foot.
BRONZES
Zig-zag Lozenges.
Triple Lozenge.
See
(q.v.),
some-
BRONZES
RECOMMENDED BOOKS
Foster, K. E.
A Handbook
Hansford,
S.
in
1.
the Alfred P.
Pillsbury
Collection.
Buckingham
Collection.
Minneapolis, 1952.
the
Chicago, 1946.
Kidder,
J.
E.
in the
City Art
Museum of St.
Louis.
St.
Louis,
1956.
Lodge, J. E.
of Art.
Watson, W.
White, C.
W.
W. P.
Yetts, W. P.
Yetts,
London, 1962.
The Cull
Toronto, 1956.
London, 1939.
Collection of Chinese
etc.
45
BUDDHISM
i5r
1st
century B.C.
popular and the one under the influence of which, the religious
art flourished
most vigorously.
of Tun-
sites
its
paint-
ings,
be popular.
of the
industrial arts,
minor
objects
In the
dynasties, the
is
frequently un-
certain.
46
BUDDHISM
Abhaya Mudra
ft
Abhaya Mudra.
See
Mudra.
Bodhidharma
Assault of Mara.
See Life of
Buddha.
Amitabha,
Chinese A-miin
simply Mi-t'o. The
Buddha of Boundless Splendour,
who presides over the Western
Particularly popular in
Paradise.
or
t'o-p'o,
Chinese Buddhism.
One of
Ananda.
Buddha, he
was the master of hearing and
remembering; he is said to have
compiled the
Sutras.
He is
reckoned the second patriarch.
Dressed as a monk, he often
appears together with Kasyapa
(q.v.) in support of the Buddha.
ciples
of the
historical
Anjali Mudra.
Evil beings at
war with
One
class
of
See Amitabha.
A-mi-t'o-p'o.
Asura.
See
Mudra.
Avalokitesvara.
Chinese
Kuan-yin, Lord of Compassion.
A Bodhisattva (q.v.) depicted first
as a man, but by the
Sung
Dynasty (a.d. 960-1279) is usually
shown
as
woman, and
as a
Goddess
identifiable
(kalasa)
In
is
of Mercy,
by
known
usually
in the hand,
baby.
Apsaras.
heavenly being, a
goddess, a term often used in
European
See Life of
Buddha.
Arhat.
Bath.
worthy; an enlight-
type of saint
hism
in
ened, saintly
(q.v.)
contrast
to
the
Mahayana
They are called
Bhadrasana.
legs pendent.
Bhumisparsa Mudra.
Mudra.
See
Bodhidharma.
Bodhisattvas (q.v.) of
t'i-ta-mo,
Buddhism (q.v.)
Lohan by the Chinese, who have
arranged them in groups of 16,
built,
18 or 500.
sea
Asanas.
seat
or throne; also
legs.
(b)
sea
on
or
sword or
an emaciated
on
man
curly-haired
with a
a millet stalk;
man
a millet stalk
crossing the
and holding
47
Bodhisattva
Dvarapala
hand. He was
founder of Ch'an
reputed
the
Buddhism
in China and is
have arrived there in a.d.
520, but his existence has been
(Zen)
BUDDHISM
iT
Buddha,
line
said to
questioned.
Bodhisattva.
name
of
Buddha, or
ism (q.v.)
Chinese
In
ually referred to
P'u-sa.
in
us-
by the abbreviated
potential
Mahayana Buddh-
which
much
was
and
is
who
nounces
to bring
this in
salvation to
all
order
first
re-
mankind.
suffering
Such
pairs
in
support of a Buddha.
who
ways
simple
figure
is
al-
without
Chandaka.
The
personal
ser-
The
best-known
Avalokitesvara
figures
(q.v.),
are
Manjusri
(q.v.),
Samantabhadra
(q.v.) and Mahastamaprapta (q.v.). Before his en-
(q.v.),
Ksitigarbha
Cintamani.
The magic
jewel;
Dharmacakra Mudra.
MUDRA.
Dhyana Mudra.
See
See
Mudra.
Bod-
The pose of
with le;s crossed.
Parvankasana and
called
Dhyanasana.
hisattva'.
meditation
Buddha.
fectly enlightened
Nirvana
(q.v.).
is
per-
48
Diamond
Pose).
Mahayana
Also
Vajrasana (the
Dvarapala.
Two
guardian figure.
BUDDHISM
Eleven-headed Kuan-yin
-fr
ward
spear, they
Kuan-yin.
Eleven-headed
of Avalokitesvara
especially connected with Tantric
Buddhism.
Ju-i
historical
mean
to
most
the
Buddha himself
He
instances.
is
Bodhisattva'
referred to
as
before
enlightenment.
the
'the
in
frequently
See
Life of Buddha.
manifestation
Enlightenment.
Buddha.
of
Life
See
Great Renunciation.
of Buddha.
The
Hinayana.
of
doctrine
See Life
'Small Vehicle'
Buddhism;
much
Farewell
Life of
Kanthaka.
to
See
Buddha.
First Seven
Buddha.
Steps.
See Life of
Four Encounters.
Buddha.
See Life of
the
(q.v.).
lation.
Mahayanists,
Four
Guardian
Kings.
Gods of fragrance
Gandharva.
One
and music.
class
of super-
Lotus Sutra
as
the
See
LOKAPALA.
icians.
who
is
(q.v.).
They
musshown
Indra's
are usually
is
on the doctrine
rather than
on
Buddha.
apsaras
(q.v.)
with
or
censers
musical instruments.
Garuda.
The king of
mythical being.
Jatakas.
lives
birds,
Associated with
fire
as
Ju-i.
when
Gautama.
Dhca
The name of
the
An
elongated
S-curved
symbol of discussion
often held by Manjusri (q.v.),
object;
(q.v.).
49
Life of Buddha
Kalasa
-fr
of Buddha.
Kalasa.
Life
brosia
events in the
Avalokitesvara
Buddha
(q.v.).
BUDDHISM
The major
of the
life
historical
and are
Kasyapa.
art
he
In Chinese Buddhist
is
became
first
who
patri-
In
he is shown as an
with a heavily lined
face
and often appears with
Ananda (q.v.) in support of the
Buddha, sometimes with two
Buddhist
elderly
art
monk
Kinnara. Celestial
musicians
and dancers. One class of supernatural being mentioned in the
Lotus Sutra (q.v.) and represented
as small figures dancing with
scarves,
trailing
or
as
human-
the
Hell.
dressed as a
grim's
staff
rattle at the
carry
who
Bodhisattva,
from
remember
Buddha was
family
delivers
shown
Usually
holding a pil-
monk
(khakkara)
top.
with
He may
also
Kuan-yin.
Kapilavastu,
Avalokitesvara.
Kuvera.
See Vaisravana.
To
be seated with
Sakya
clan;
his
mother's
his
name
often
known
eight,
Mayas Dream,
shown
as a
or the conception;
woman
asleep
on
The
ama,
who
from
his
of Gauthave sprung
birth
said to
is
rested in the
generally
Lalitasana.
historical
Nativity.
See
the
in
the
that
father
is
order
shown
as
woman
while
an
attendant
BUDDHISM
Life
^r
from her
side.
times
the
servant
Chandaka
bath-tub,
either
or
small
in the direction
a lotus flower.
Four
The
Encounters.
youthful
Prince
the palace
on four
first
occasions to
(a
by
his
by
apsaras
He may
be accompanied
servant Chandaka.
The
Farewell
ing
his
to
Kanthaka.
home
Gautama sends
at
After leavKapilavastu,
his horse
Assault ofMara.
is
seated under
either
(some-
side;
Bodhi-tree
the
these
represented as
inter-
The Bodhisattva
demons
One on
usually
in a state
achieved,
Gautama
Buddha-hood
is shown in
in
the
This
The prince
is usually shown mounted on his
horse Kanthaka riding away from
Great
The
Gautama
'kneeling' be-
to the Nagas.
infant
shown
as
horse
In
First
is
The
be
may
Kanthaka
of Buddha
is
Buddha
usually
shown with
the
He may
an end',
Buddha. He is
shown either alone, and apparently asleep, or with mourning
figures around him, and with
birds and animals coming towards him bearing flowers.
Parinirvana, 'brought to
51
Lohan
Maya's Dream
Lohan.
-fr
See Arhat.
theistic
ana
Buddha
entrance to a
at the
The
known
best
Hall.
Vaisravana
is
(q.v.).
Lotus Sutra.
much of
sur-
earliest
Chinese
into
An
a.d. 406.
from
Chinese
and
the
Sanskrit
The Lotus of
He
the
The
Bod-
representing
the
Amitabha
of
on
is
the
left.
called the
Mahayana.
52
Mandala.
magic
circles,
circle
or squares, in
Manjusri.
In Chinese Wen-shu,
the
Bodhisattva
often
shown
of
Wisdom,
riding a Hon.
doctrine of Buddhism,
a strong
foregone con-
divided into
Buddha-wisdom
(q.v.).
Nirvana
is
translation
Mahastamaprapta.
(q.v.)
in
Wonderful Law.
hisattva
clusion.
partial
title
series
paradisic
Mahay-
of a
English
1884,
in that
release
The
translation
from
translation
that
to
art.
Buddhism
BUDDHISM
which had
hold in China.
It
is
Maya's Dream.
Buddha.
See
Life
of
BUDDHISM
Mi-lo.
Mi-lo
<&
See Maitreya.
Pagoda
Giving or bestow-
Vara mudra.
the
ing.
Mi-t'o.
See Amitabha.
Mudra.
Mystic
the
gestures
ritual
Discussion.
Vitarka mudra.
The
touching
Abhaya
mudra.
assurance; the
Gesture
of
re-
gesture
thumb. This
be assumed by both
the
may
hands.
of prayer.
a similar association.
Anjali
mudra.
Offering;
the
The BuddThe
Nativity.
Nirvana.
Bhumisparsa
mudra.
See Life of
Buddha.
wisdom.
tended,
The arm
the
is
of
fully ex-
Liberated
ence; eternal
bliss.
and
the
of
cessation
re-birth.
ism
the
(q.v.),
entry
transcendental paradise;
into
for
ad-
Amitabha
meant the Western
this
Paradise.
The
Padmapani.
a
lotus bearing;
kitesvara (q.v.).
Cakra.
Pagoda.
stupa or reliquary.
Parinirvana
Sastra
-&
Parinirvana.
See
Life
Buddha and Nirvana.
of
buddhism
Saddharma Pundarika
Paryankasana.
See
Dhyanas-
figures
seated with
See
Sutra.
Lotus Sutra.
ANA.
Sakti.
who made
deity.
his
appearance in his
both
Literally 'energy'; in
Prabhutaratna. The
ancient
Buddha, long in Nirvana (q.v.),
sakti
is
expound
Sakyamuni.
The two
the
may
See Life
A title of the
Buddha. Sakya was
the clan name, and muni means a
historical
for the
Buddha.
Samadhi.
Siddartha. The personal name of the historical
Buddha. His other names were
Sakyamuni (q.v.) and Gautama
(q.v.).
Before his enlightenment
he is often referred to as 'the
Prince
Bodhisattva'.
See Bodhisattva.
or meditation.
The
deepest
form
of Yoga meditation.
Chinese
Samantabhadra. In
of
Bodhisattva
The
P'u-hsien.
Benevolence; he is
usually shown riding an elephant.
Sariputra.
The
disciples before
P'u-t'i-ta-mo.
equi-
Tranquillity,
Universal
Sakyas.
See Bodhi-
chief
whom
of
the
the Lotus
DHARMA.
Sastra.
Rajalilasana.
as
54
the
'royal
describing
of
Text or manual of
craft
such
as
painting or sculpture.
rules
architecture,
BUDDHISM
Simhasana
<&
Vairocana.
Lion throne.
Simhasana.
the
Sleeping Buddha.
NIRVANA.
See Pari-
Sutra.
attributed to the
Buddha
himself.
See Vairocana.
See
Ta-shih.
Bodhidharma.
See
Mahastama-
prapta.
in
a.d.
647.
The
The Thunderbolt;
Vajra.
The
formulae,
Tantra. Mystic
a
term associated with the Yoga or
Tantra school,
which claims
Samantabhadra (q.v.) as founder.
The doctrine and system was
introduced into China by the
famous pilgrim
and
scholar
Hsiian-tsang
med-
means a
iums. The word
diamond, and thus hardness and
also
indestructibility.
Vajrapani.
Vajra',
who
protector;
any figure
this
(q.v.).
Vajrasana.
Ti-tsang.
Ta-jih,
Pagoda.
See
Ta-mo.
In Chinese
Buddha of All-pervading
Stupa.
Ta-jih.
Vimalakirti
See
Dhyanasana.
See Ksitigarbha.
Vara Mudra.
Urna. The luminous curl between the eyebrows of the
Buddha, from which shone a ray
of light iUuminating all the worlds.
Vimalakirti.
disciple
to
have
of Sakyamuni
great
supernatural
visited
Mudra.
when
Weibeen a
In Chinese
Said
tno-chi.
man of
Ushnisha. The fleshy lump on
the top of the head of a Buddha.
One of the 32 marks of Buddhahood.
See
(q.v.).
learning,
having
He was
by Manjusri
powers.
sick
55
Vitarka
by
Mudra
Yaksa
ft
between
men. The scene is
popular in both sculpture and
the
a great disputation
two
painting.
Vitarka Mudra.
See
Mudra.
(a)
Demons
buddhism
in the earth or
air,
or
and
violent.
(b)
Attendants on
Vaisravana (q.v.) God of Wealth,
and then symbolic of abundance.
One of the classes of supernatural
evil
Yaksa.
56
Sutra
(q.v.).
BUDDHISM
RECOMMENDED BOOKS
Conze,
Buddhism.
E.
Davidson, J. Le Roy.
in
Chinese
art.
Oxford, 1954.
Siren,
O.
to the
14th Century.
London, 1925.
4 vols.
(1 text, 3 plates).
Soothill,
W.
E.,
Terms.
London,
1937.
Waley, A.
K.C.I.E.
London, 193 1.
57
CERAMICS
on the
1.
basis
it is
generally
made impermeable by
It is fired at comparatively low tempera-
It is
One
may
be used, or two or
though we believe that the Chinese
usually used only one clay for any one type.
2. Porcellanous stoneware is hard and varies in colour from black
to light grey or dirty white; it is impermeable and non-translucent.
It is usually glazed, the glaze used being of a different nature from
that used on pottery, and the ware is fired at temperatures
between about 1,150 degrees Centigrade and 1,300 degrees
degrees Centigrade.
more blended
Centigrade.
both
together,
The body
ball clay
clay alone
is
their
proper
proportions.
3. Porcelain is
hard,
impermeable and
is
compact
translucent.
fired at temperatures
may contain
the other
CERAMICS
Ai-yeh
-fc
Birthday Plates
fired
importance.
Ai-yeh.
An-hua,
'hidden
or
'secret'
Yung-lo
period
on
(1403-24)
rare
the
and is
from
the
found on many wares
'bodiless
ware'
(q.v.),
It
takes
and
delicate
is
it
that
it
is
us-
is
So
slip'.
fine
only
transmitted light;
like a
watermark
Apple
Green.
it
in paper.
It
is
ai-yeh.
often referred to in
by
catalogues
its
Chinese name,
[lOfc].
by
then appears
out in underglaze
ably carried
blue.
Batavian
Ware
is
a trade
name
which
are
decorated
either
in
The name
owes its
Dutch
great quantities of these
trans-shipping them at
enamels.
Arrow
petitors,
them
lugs.
who
attempted to get
[104
carried
wares,
59
Biscuit
Brush Pot
wan-shou
-fr
wu-chiang,
myriad
'a
on
The series is
reputed to have been made for the
sixtieth birthday of the Emperor
K'ang-hsi in 1713.
Biscuit.
mic wares
that
have been
the
at
Known
ex-
See Te-hua.
made
the
in
occurs
type
is
10.
period
when
[10/,].
wedded
CERAMICS,
a]
bliss.
silicate
com-
Brown Mouth,
describes
the
Kuan
brown
in
glazed
rims
on
wares
it
(q.v.).
PLATE
Yung-lo
decoration,
(1403-24);
As a ceramic form it
probably appears first in the latter
part of the T'ang Dynasty.
The
Chinese call this form yii-huctiun ping, and this name may be
found in some modern writings.
flaring lip.
ware
of the body.
Blanc de Chine.
fired,
but not yet glazed. The temperature of this first firing varies
between about 800 Centigrade
and 1 ,300 Centigrade according to
the constituents of the body and
the type of glaze to be applied.
pale
CERAMICS
Arrow
Brush Pot,
flat-based
cylin-
drical jar.
Vase,
b]
Bottle Vase,
c]
Baluster
6o
d]
Brush Rest
Chatter Marks
derived
century.
on
laneous
with the
highest peak in the centre and the
a rectangular base,
on each
[%].
side.
CERAMICS
*&
from
iron.
became
It
popular in
especially
Canton Enamels.
the
18th
See Miscel-
section, p. 125.
Cavetto.
The
well of a large
dish.
flat
base with-
Celadon.
brownish
body covered by
The name
name Celadon,
greyish-toned glaze.
Bubble Cup.
name some-
is
the
foot
rather
is
The
small.
(q.v.)
They
are also
form
(q.v.)
is
named by some
[10/].
Buckwheat Celadon.
SeeToBi
Among
rib-
grey-green tone.
the most important wares
soft
heading.
Ch'a-yeh Mo.
Tea Dust.
See
Seiji.
Ch'ai, a
known
of others.
62
with
number
[10e,/].
Cafe-au-lait.
glaze,
in a
(q.v.),
A lustrous brown
lost
imperial ware
of
It
puted to be light
thin, with fine crackle
source
states that it
Cheng-chou
Many
in
lines.
Honan
in
province.
so far
One
was made
all
made
have
proved unsuccessful.
Chatter
ridges,
Marks
are
radiating
varying in prominence, on
CERAMICS
Chi-an
ft
in
fault
It is
manufacture, which
or
wrong
at the
angle.
Ware
Chi-an
imitation
bird
or
floral
motives;
these
little
in
being applied
first
brown
glaze
Ware
Chien Ware
commercial
producing Kuan wares (q.v.)
was established and operated from
about a.d. 1140 onward. The
site of the kiln was discovered
during road-making operations in
1934 and the kiln has always been
of
kiln
known by
name
the
Chiao-t'an.
name
is
Chicken cups,
the
name given
many of
bearing
the
the imitations
mark of
the
Ch'eng-hua period.
Chicken skin
is
the
name given
to irregularities in the
form of
made from
a fine-grained
face.
firing clay,
white
paste' (q.v.).
brown
Chiao-t'an, 'Altar of Heaven',
which in the Southern Sung
period was at Tortoise Hill, near
Hang-chou;
it
was
in the vicinity
just
63
Ch'ien
Chiu-yen
Mark
to a white porcelain
in the hollows.
the roughness of
tjie
ceptible
glazed
Ch'ien Mark.
ceramic mark
which
round with
is
it
a
is
Decoration.
Chih-ch'ui P'ing.
The term is
(q.v.).
A mallet vase
some
what
authorities for
also
used by
is
more
]10d].
decorated
underglaze
rather
in
blue,
dark,
dull
overglaze
red
Arita in Japan,
were
carried
Chinese
Lowestoft.
Chinese
white export porcelain painted
with pink roses at Canton.
'bluish white'.
This
literally means
The name
a clear
washy
easily
dis-
The body
hard
is
14th
as early as the
Chen
Ching-te
is
given
great
the
is
which
in
southern
China at
were
regularly produced
ginning of the
the
end
Long
had
and
of the
14th
century.
certainly
been in production
known how
early
The
it
district
the
tion
is
is
raw
not
exceptionally rich in
materials for the
still
all
manu-
and produc-
continues.
Chiu-yen.
site
64
is
facture of porcelain,
Ch'ing-pai.
with
An export ware
Chinese Imari.
CERAMICS
ft
The name of
a kiln
CERAMICS
from
the
Clair de Lune
Ch'u-chou
-fr
Ch'u-chou.
in
locality; there
they were
Chiieh Mark.
earlier
pieces,
too,
are
more
is
rather less
common
in both
A pair of stylised
yiieh-pai,
that
'moon
white'.
Jacque-
The ware
apparent.
Precious
Objects.
See
Decoration.
no evidence
there.
is
made
of the
it
Ch'ui-ch'ing.
Blue.
Chun
is
See
a buff-bodied
a lavender glaze, in
Ehca
takes
its
Powder
ware with
some cases
65
Clobbered China
Clobbered
Earthworm Marks
China.
Chinese
red,
'im-
porcelains
way
began
body and
The
prac-
fault,
it
its
decorative
Fine
openwork
effect.
des Indes.
made
Chinese
specifically
to
name in
when other
companies
India
Dutch began
than
Work.
Devil's
trellis
Compagnie
East
Technically a
porcelains
the kiln.
as to
CERAMICS
the
usually
patterns,
free
of
glaze.
this
Conch
Dogs of Fo,
Shell
Mark.
This
is
it is
mark.
is
is
See Decoration.
Coral Glaze.
used
as a
monochrome
glaze.
form of
on wares of
particularly
Sung Dynast}',
Kuan (q.v.) The
the
Sung imperial
of a Buddhist
temple or on either side of a
Buddha
in pairs
statue.
with
They
are
made
In the ceramic
inches (30*5
They
also
occur
as a
decorative
motive.
(q.v.).
glaze,
66
Pekinese
medium
resembling
of animal
They
of Chiin wares
CERAMICS
Famille Noire
&
when
completely,
the
critical
The marks
reached.
common on
larly
where there
bowls,
bulb
are particu-
the inside of
is
Egg and
on
same
piece,
ised
pattern.
It
decoration that
this
is
first
name during
occurs with
an
is
a variant
extremely
thin,
porcelain, sometimes
'bodiless'
t'o-t'ai,
or
It
it
called
is
by the
(q.v.)
the
separate
Enamel on
Biscuit.
application
of
soft
This
lead
is
the
from each
same way as do the
copper wires in cloisonne enamel
(See
Miscellaneous
section,
Cloisonne). This style of decoraother, in the
tion
may
also
be called san-tsai
(q.v.).
See Fa-lang.
Fa-lan.
that
is,
to
about
on porcelain
lang,fu-lan
andfa-lan.
silicate
the
of
the
Famille Jaune.
tinguished
by Jacquemart.
Fa-hua
colour
name given
to the
of
the
group
enamel-decorated porcelains of
the K'ang-hsi period (1662-1722)
to
coloured
different
ling
for porcelain,
serve
that
lines,
Chinese.
after
incised
the K'ang-hsi
skin' (q.v.).
Egg-shell,
pure white
with a ruby
is used for
decorated porce-
of
type
of 'tiger
the
cloisonne-style
lain
Famille
Noire.
porcelains
made from
group of
the K'ang-
onward in
which the dominant background
is
black.
It
is
really
67
Famille Rose
Fen-ts'ai
variant
made from
since
ward, which
All
group are
opaque and stand up more in
relief than those of the famille
the
colours
in
verte translucent
the
type
(q.v.).
The
of enamels
Chinese
also
is
name
CERAMICS
-fr
known by
its
yang-ts'ai, 'foreign
from
much
in style
earlier wares.
The
subjects
type
known
They
(q.v.).
more
delicate
Ku-yueh hsiian
have nevertheless
as
remained popular.
Fan-hung.
An
open
is
jects.
See Decoration.
made
as early as
68
is
name given
to a bright, almost
name
from copper;
for
it
is
another
'peacock green'.
Fen-ting.
See Ting.
nese
porcelains (q.v.).
rose
CERAMICS
Fish
"fr
imitations
century,
being produced at
were
Ching-te Chen
(q.v.).
These
mon
Roe Crackle
sets
Hare's Fur
are particularly
com-
centres.
streaking
scale
on
Gombroon.
ward.
It is
term
some
on Chun wares
also applied
by
uncommon
Green Chun,
an
on
Fo-lang.
See Fa-lang.
as part
Fu-lang.
flat,
narrow-rimmed
Hang-chou Celadon.
for
which
there
justification, for a
See Fa-lang.
saucer
is
the
is
term,
but
little
type of crackled
affinities
Lung-ch'iian celadon
with
(q.v.).
swelling
similar to a bulb
at
of
the
garlic,
mouth
some-
way.
[10/].
Hard Paste.
Porcelain produced
vitrification
and translucency.
69
Hare Mark
Huang-pan-tien
Hare Mark.
mark in the
&
hate used as a
16th
and
17th
centuries.
site
spite
satisfactorily
Hawthorn Design.
mer
misno-
noire (q.v.)
decorated
vases
Hill Jar.
Han
mountains.
[10m],
from the
celadon
The name of
also
was not an
its
period of
work was
be located.
its
where
Objects.
it is
traditionally believed
produced. The
body in early examples is often
covered in white slip (q.v.) before
glazing, and the rims of bowls
may be thickened.
have
Tradition
(q.v.).
white
porcelain produced in the T'ang
Dynasty. It is named after the
district of Hsing-chou in Ho-pei
to
spite
now
Hsing.
in
identified
branches.
Such
CERAMICS
Hua Mark.
lozenge-shaped
trailing
from
See Decoration.
been
Hua
Shih,
white
kaolins,
'slippery
stone',
on porcelain
smooth painting
times as a dressing
The name
surface.
is
traditionally asso-
70
to
provide
It
a
is
said
to
facture
of
be
an
manu-
'bodiless wares'.
Huang-pan-tien,
low elaze.
variegated yel-
CERAMICS
Imperial
it
Jesuit China.
Jesuit
culture
and
Sericulture, etc.
The
brownish
tinge.
YellowJu
decorated
The
earliest
Red,
is
an
bare of glaze.
enamel
is
colour
it
fer,
(q.v.) or in combination
with other enamel colours. Like
all enamel colours it is fired in a
colour
muffle kiln.
A dark
with a fine
metallic speckling produced in the
Iron
Rust
brown
to black glaze
Glaze.
The
The name
be used
is
applied
any large
as a
flower-
in the
of the Chin
18th century.
Jardiniere.
Hang-chou
on the
is
dependent
now
in the Percival
David
Juan-ts'ai
Kraak Porcelain
-fr
Most
crackle.
pieces,
facture
Kian Ware.
Kiln
Kinuta.
has also
especially
colour.
It is
CERAMICS
See
Chi-an Ware.
Glost.
The fortuitous
appearance of glaze round the
shoulders of a vessel, that
other-
is
It is
fall
of
amalletvase(q.v.)[10J].
Juan-ts'ai,
ese
'soft colours', a
Kaki.
Chin-
rose (q.v.).
Kao-lin,
china clay
by
white
first
firing,
plastic
discovered and
Chinese potters.
Compounded of silica (50 per
alumina (30 per cent),
cent),
potassium (2*5 per cent), approximations only, the rest being made
used
the
tion.
Ko.
celadon
(q.v.).
Kraak Porcelain.
The name
manganese
magnesium and
well
as
water, which is
sodium, as
The proportions of
lost in firing.
up
of iron
oxide,
oxides,
lime,
century.
The
decoration
design repeating
two or
another.
Kao-lin
ingredient,
72
is
an
essential
when compounded
nate.
all
three designs
The ware
is
laid
may
be of one
round, or of
which
varies
alter-
great
CERAMICS
Ku-yiieh Hsiian
^r
The name
Dutch name for
colour.
derives
the
from
Kuan
Jar.
Kundika
Kuan Ware.
Portuguese
ship
the Southern
which continued
mark 'Ku-ytieh
dark-bodied
thick,
opaque
Most pieces
Lii,
glaze,
glaze
brownish-grey
are small.
Kuang-tung Ware,
'cucumber green',
strong
from
in the vicinity of
Other products of the
include imitations of Chun
and Yi-hsing glazed wares
^nd pieces with jlambe
kilns
Canton.
kilns
(q.v.)
Kua-p'i
after
A gener-
hsiian' in red
be made
ware with a
which was
applied in several layers, and
which has a wider or narrower
ally
varies
the
to
crackle.
Imperial ware of
Sung Dynasty, but
(q.v.)
brilliant
effects (q.v.).
35).
Kundika.
Laiig-Yao
Ling-chih
it
CERAMICS
material,
flaring
in
ritual,
Lang Yao,
a brilliant
glazed ware
first
[11a].
blood-red
produced in the
(1662-1722).
in
known
better
It is
bceuf.
:-r
oxide
is
may
be
The red
crackled.
is
rarely uni-
is
approximately
Leys Jar.
Up,
mon in blue
Chun
(q.v.).
[10/].
it
is
It
period.
Lien Hua,
a crackle, or apple
elaze material,
form of
sand or quartz, fused by means of
an oxide of lead. It fires at a low
containing
silica
in the
first
Bowl,
mark.
74
11.
CERAMICS,
Narcissus Bowl.
i]
Ya-shou
e-f\
Pei.
a]
mark
It is
motive, either on
as
of
been
mark from
onward.
the late
Ming
period
also
occurs
very
It
commonly
as a
especially
in
Taoist subjects.
Kundika.
Pilgrim Flasks,
/"]
or
[10//].
Decoration.
PLATE
own
Emblems
fired
d]
'lotus flower'; a
also a decorative
its
Lead Glaze.
Com-
first
ing,
a
is
which
Rouleau Vase,
k]
with
association
The fungus
Mei-hua P'an.
Monk's Cap Jug.
b]
o]
decorative motive,
c]
/z]
itself
Mei-p'ing.
Sunflower
Truncated Vase.
/]
Ting
PLATE
11
Ling-lung
Marbled Wares
,as
-fr
Polypoms
two
Wliile the
object.
to be joined are
lucidus.
See Devil's
Work.
place
by
surfaces
damp
still
Ling-lung.
CERAMICS
they
and held
in
amount
Lo Mark.
mainly
used
conch
mark,
One of
the
Buddhism.
Decoration.
Loaf Centre.
convex eleva-
Chinese term
is
Lung-ch'uan,
The
man-t'ou hsin.
a
southern type
The
glaze
is
thick, usually
and grey-green
Decoration
colour.
the
on
form of moulded
to the
carved.
of
body,
Made
opaque
grey-blue in
to
is
either in
reliefs
luted
number
Chekiang, including
those at Ch'u-chou, the name
Lung-ch'iian is a type name rather
than that of the precise place
where it is manufactured. See
also Yueh, Li-shui and Northern
Lute.
another,
To
is
lute,
one
piece
to
two or more
parts
of a vessel
76
slip (q.v.).
strictly
form
popular
celadons
applies.
(q.v.).
It
is
Lung-ch'iian
in
[I0d].
Man-t ou Hsin.
See
Loaf
Centre.
latter half
of the 18th
century onward.
kilns in
Celadon.
ing
usually called
K'ang-hsi
the
in
period (1662-1722).
Eight Emblems of
See
shell
on
to the surface
of an
Marbled Wares.
from
Wares made
of two, or occasionally
more, colours, kneaded together
in various ways and usually glazed
with a soft transparent glaze so
that the different colours of the
body show through, sometimes
These wares
in definite patterns.
were made from the T'ang Dynasty
onward; they occur in a modified
form in some of the Yi-hsing
wares (q.v.).
clays
CERAMICS
Mazarine Blue
^r
A term loosely
Mazarine Blue.
mean
powder
blues
Northern Celadon
purity
Jugs
made
a lip
(q.v.).
Mei-hua P'an.
'Prunus blossom
[Hi].
Mei
examples,
dish'
'Plum blossom
vase', a vase with small mouth,
wide shoulders and tall body
tapering smoothly to the base.
The form makes its appearance in
Mei-p'ing.
Mi-se.
straw,
[lie].
date
[llg].
especially
of the K'ang-hsi
The wares
period (1662-1722).
(q.v.)
river
from
in Kiangsi
or millet yellow,
some-
Mirror Black.
A brilliant black
[lid].
glaze produced
Nien Hao.
See Reign
Marks.
An
Northern Celadon.
brownish-bodied
much
Mo
Hung.
Iron-red enamel
monochrome
Mohammadan
ores
from foreign
effect.
Blue.
sources,
Cobalt
which
to
spiration,
Yueh
grey or
ware,
owing
(q.v.)
which has
for
its
in-
a transparent
precise
in
firing
ditions).
{see
77
Northern Kuan
been made
kilns in
at a large
North China;
in the style of
Ting
tion to
and
firing
(q.v.);
it
made
its
number of
it is
(q.v.)
to
Chun
Chiin.
to
from
as those
may
also
Northern Kuan.
in Chinese texts
not so
decorative
much admired by
Tea
Masters.
Japanese
Honan;
the
it is
Orange
term used
Peel.
This
is
glaze
on
century, but
may
be found
at
any
period.
Oxidizing Conditions.
These
conditions are achieved by allowing
as
enter
oxides
ditions.
on ceramics, but
of the
Northern Sung Dynasty, but
which of the wares are to be
included in the term is uncertain.
The following possibilities have to
be considered; (1) Ju ware (q.v.),
(2) Ju and fine quality Chiin (q.v.),
and perhaps Tung (q.v.); (3) Tung,
or some other ware deriving
from
is
black.
It refers
which
effect,
CERAMICS
and in body
technique
may
related
carved decora-
-fr
Pai-ting.
See Ting.
to imperial wares
Pai-tun-tzu.
See Petuntse.
it.
Palm
Oil-spot. A silvery spotting on
a black glaze, derived from iron,
and caused by excesses of the
metallic compound being deposited on the surface in the course
of the oxidizing firing.
The
78
Chinese,
and
sometimes
pin-
holes' in English.
Pan T'o
T'ai. Semi-bodiless.
CERAMICS
Pao-yiieh P'ing
<&
Pao-yiieh P'ing.
shaped
full-moon
See Pilgrim
[lie].
flask,
Flask.
Paper
Beater.
Mallet
See
Vase.
Peach Bloom
the
is
name
for a
(1662-1722).
were
so
fired
to
as
produce
the
surface
often
period.
(1821-50)
be decorated in
this
may
also
way.
shading
The
monotony of
Pi-se
Petuntse.
effect
The
novation.
effect is called
by
the
and of the
type of ware.
lain
The name
it
is
'white briquettes',
the
Chinese.
as
stands
the
form
in
sold to the
potteries.
Green.
A vivid,
medium-fired glaze derived from
copper. It was first used in the
Peacock
14th
century,
but
achieved
when
Dynasty,
Ch'ing
gained
it
its
this
name.
Phoenix
accepted
Hill
as
is
traditionally
site
Peking Bowls.
to a type of bowl
Western
not
name given
first
acquired
collectors in Peking,
made
there.
The bowls
by
but
usually
plain
decorated
linear
scroll
work
patterns,
found.
are
the
Pi-se,
'reserved',
'secret'
or
at
79
Pi-t'ung
Reducing Conditions
CERAMICS
-r
in
ofYueh.
Pi-t'ung.
Brush Pot.
See
the
K'ang-hsi
Pieces
1722).
souffle blue.
Proto-Porcelain,
to
Hellenistic
Sassanian
Persian
the
may
term applied
known
Chinese
wares with a feldspathic glaze, for
which a high firing temperature is
needed. The earliest wares to
earliest
body
ally
later
moon
type
this
are
vases'
by
The
feature.
'precious
called
the Chinese.
examples
is
See
Palm
well
from
The
exist.
A variant of Ting
Purple Ting.
(q.v.)
factorily
identified,
but
which
may
brownish
Pin-holes.
may
applies date
glaze.
Eyes.
A variant of Ting
with the same white body
but with a rusty brown glaze.
Red Ting.
Hung.
P'in-kuo
Bloom.
See
Peach
(q.v.)
Powder Blue,
Reducing Conditions.
on
are conditions
to the
bamboo
then glazed.
ting
kiln
down
during
extent
that
These
produced by cut-
firing
carbon
carbon
reduced to
compelling the
fire
to
such
dioxide
an
is
monoxide,
to
absorb
ceramics
Reign Marks
<&
process
accounts
for
the
coat
and
being
turquoise
the
San-ts'ai
to pro-
stipple effect,
and lavender
tones of Sung wares and copperreds of the 14th century onward,
See also Oxidizing Conditions.
de
Fer.
Iron-red
enamelling over a porcelain glaze.
Reign Marks, or
Rouge
Rouleau Vase
nien hao,
are
is
vase with
under-
inscriptions, generally in
openings; the
name
filled
derives
the
from
cylindrical,
ing
Ruby Back.
lain
bowls,
Egg-shell porce-
and
saucers
dishes,
with
uniform
rose
enamel
from
known
'Gombroon' wares, a
name sometimes found in older
in
as
examples.
the
Yung-cheng
period
(1723-35) onward,
Saggar.
It
protects
the
may
term
being applied
ware; the
Fhca
as a
simple all-over
name given
silicate
is
to
certain
glazing techniques.
lead
The
the
polychrome
8
ft
common
personal
colours
being,
blue,
seal,
CERAMICS
on a man's
winch was usually
rectangular.
Seal Script.
Chinese characters
written in an archaic
mon name
without
which
for
The
(q.v.).
porcelain
glaze
temperature;
to
fa-hua
is
is
porcelain
either
by
incised
carefully applied
The colours
blue,
turquoise,
and
a neutral glaze
which
regarded
as
used, varies
Seng-mao
Cap Jug.
Hu.
See
Monk's
referring to a tech-
number of
from two
Sang de Bceuf.
red-coloured glaze,
Sesamum
Seeds.
The
small al-
serves
as white.
In both the T'ang
Dynasty type and that of the Ming
Dynasty the name should be
nique, as the
Monochrome.
Self-colour.
being separated
include,
(q.v.).
fired first
used
often
then decorated
it is
style,
colours
to six.
deep rich
deriving
its
Shao-hsing
is
the
modern name
Sa-po-ni.
Seal
Mark.
reign
mark,
for
CERAMICS
Shu-fu
ft
comparatively
period
or
little is
known of
this
later;
ware,
Su-ma-ni
the history of
because
possibly
it
Imperial
Shu-fu,
the
Palace',
mark
characters used to
perial favour.
im-
the
Spur Marks.
usually
on
inside
vessel;
regular patterns.
perial
slightly
opaque
the
glaze.
elliptical
Small circular or
they
glaze,
occur
in
Two
Shu Mark.
books with
Precious Objects.
Decora-
tion.
thick
used
as
surface
and luting
dressing,
(q.v.)
Soft
for
Chun is
the
of parts or
body of a
down and
covering
from
name given
to a
to a soft pinkish
brown
earthen-
with
covered
ware,
translucent
which
colour, from
glaze,
turn varies in
semiin
its
a pale
blue;
sometimes
the
purple
Stilt
Marks.
See Spur
Marks.
Suburban
Altar.
See
Chiao-
TAN.
vessel.
glaze
The
fired.
the foot-ring.
is
po, su-ma-ni
hui-ch'ing,
ni.
Su-ma-ni.
Sunflower Bowls
Tcmmoku
mallow flower
Su-MA-U BLUB.
usually
of Kuan ware,
fivc-lohcd
Chinese as
\nh\.
run,
known
to
howls.
Su-ni-po.
.See
of Kuan-yin, Goddess of
pccially
bowls
with
the
Round
Bowls.
Sunflower
CERAMICS
It
Su-po-ni.
Su-ma-u Blue.
See
turquoise
black
enamels.
alternative
name
introduced
in
century,
for
France
the
ware,
in the
19th
Blanc de Chine.
is
The
glazes.
commonly of
are
pieces
and India
the
in
centuries.
25
group
miles
of
kiln
north
Sis
^nasties periods.
Te-hua.
superlatively
fine
from
a
mI ien.
tone
in
it
colour. Although
and
dishes
produced,
84
vanes
warm reamy
bowls,
It
is
the
vases
were
figures,
in
coloured
when
effect
The
ground.
glaze
fired
is
of
soft
Yung-chcng period
although
the
perhaps
(1723-35),
was
technique
as
early
as
the
T'ang Dynasty.
of
I.ni" ehoii,
(cj.v.)
bi-colour glazing
known
Tc-ch'ing.
about
rites
Tea Dust.
es-
Tear Marks.
of
glaze
the foot.
Tcmmoku
of the
first
used
identify
known
is
Ihinese
by
the
as
name T'ien-mu,
the
black
Chicn
Japanese to
wares better
(cj.v.).
The
use
ceramics
Tiger Skin
singularly
T'ien-mu Shan
is
a pair
since
of moun-
west of Hang-chou,
tains to the
monks came
to study
Zen Buddh-
Ting Mark
ally
birds
into the
body before
glazing, or
may
pieces children
late
appear in the
saucers and
were usually fired upside
down on the rim, which was left
bare of glaze and afterwards
bound with copper. The reason
for this method of firing was,
Bowls,
designs.
dishes
of
this
ware
to
warp
in the kiln,
monks returning to
Japan took with them their black
daily use.
There
is
for
the
justification
moku and
thus
no
real
term tern-
case
is
to
marks'
has
be preferred.
distinguished
without following a
being spotted on in
'soft
as
Ting' and
Ting'.
The
and
pai-ting
t'u-ting,
differences
'white
'earthy
between
colours
are very
having been
adequately defined, but both are
biscuit (q.v.)
strict pattern,
fairly
Ting.
with
glaze,
large
areas.
The
transparent
ivory-toned
the
The name
derives
later.
from Ting-chou
fen-ting
uncertain,
t'u-ting
never
winch was
also
Ting Mark.
drawing of the
85
Tobi-seiji
Tung Ware
CERAMICS
it
and have
drawn
freely
composed and
Much
of the
ware was for export and some
pieces
carry date marks and
designs.
inscriptions that
make
clear that
it
name
brown-spotted Lung-ch'uan
type celadon
in Japan.
called
(q.v.) so
It
much prized
has been
wrongly
'Buckwheat celadon'.
Tortoise Hill.
See Chiao-t'an.
Tortoise-shell Bowls.
for the
See
Cm-
an Ware.
Truncated Vase.
vase that
Tz'u-chou
only
in
black
wares,
believed
It
occurs
and
types
to
come
are also of
Tz'u-chou type.
[Ilk],
Tsung-yen.
Palm Eyes.
T'u-ting.
See
See Ting.
porcelains of the
Dynasties
decorated in
icularly refined
term for
and
part-
delicate style,
Tung Ware.
Northern
been tentatively identified with a celadon
type of which only about half a
dozen pieces are recorded. The
body is a rather pale grey buff,
sometimes with carved decoration,
details being lightly incised, under
an opaque soft grey-green glaze of
Sung ware,
rare
that has
size.
The
ware is closely
related to Northern Celadon (q.v.),
Chiin (q.v.) and Ju (q.v.).
located.
CERAMICS
Tz'u-chou
ft
Water Dropper
modern Hopei
in
North China, it was produced
in
pear.
The
at
was of
flowers, or lotus
Tz'u-chou.
stoneware
a strong
the Northern
district
to
in
of
that
The
product.
kiln
specific
most
common
forms are ewers, vases of meip'ing form (q.v.) and bottle vases
(q.v.), jars, deep bowls, and headrests;
one special form is the
truncated vase
The
(q.v.).
pale
surface
which was
for
decoration,
of boldly painted
floral motives in dark brown, or
black under a clear or slightly
creamy glaze, or it was cut
through the slip in sgraffito techeither
would
design
show
up
dark
From
the
Yuan
period onward
uncommon
not
it
was
cover the
whole body with a dark brown
and,
glaze
through
when
to
before
firing,
cut
fired the
brown
green.
or
by
more
Underglaze Blue.
Cobalt blue
madan
ore.
Moham-
(1)
imported ore
containing arsenic as an impurity,
and (2) native cobalt, containing
manganese as an impurity instead
of arsenic. The differences between the two types is only
an
blue,
distinguishable
by
analysis.
Wall Vase.
of
thousand',
a swastika;
is
Another innovation of
the Yuan period was to paint
rather fine designs in black with a
black-hatched ground, and then
to cover this with a transparent
Water Dropper.
with only
surface.
and
found used
as a
it
may
mark from
be
the
ward.
[13/].
A small vessel
a small hole
from which
7
Wu-ts'ai
Yo-chou
may
the water
on
-fc
be shaken gently
may
be made in the
form of an animal or fruit; the
earliest examples are in Yueh
wares (q.v.) dating from the late
These
vessels
Han
or
form of a
in the
Dynasties
Six
early
when
periods,
toad.
known
the
in
West
ai,
term
'five colours', a
so
tinguished
Some of
from
type
the
that
drawn in overglaze
from
is
easily
tou-ts'ai
dis-
(q.v.).
cup', a
tung
(q.v.).
Ying-ch'ing.
Ying-ts'ai,
Chinese
dealer's term.
not
started
century.
88
operating
The
in
kilns
the
are
16th
best
See Ch'ing-pai.
'hard
term
colours',
for famille
the
verte
(q.v.).
many
cases
(3)
from Yuen
on account of
differences in form.
green-tinted
and technically
of Kuang-
pronounced
Yang-ts'ai.
their
in
[1 1 /]
for
reddish-brown
Wu-ts
CERAMICS
glaze.
The
first
CERAMICS
Yu-hu-ch'un P'ing
<fr
Yiieh-pai
small models
if this
is
crackled.
The wares on
most part to be of
manu-
local
facture.
common
vases
and
refined, the
Yii Mark.
jade used
as
of toads, animals
body becoming
finer
some cases
slightly
Dur-
opaque.
have
made
been
is
and
later.
when
Yii-yao.
See Shang-lin
Hu.
to
said
it
was
called
pise
It
yao
con-
at the
high
temperature.
The
ware
the
first
gradually displaced
had
a great influence
on the
Yiieh-pai.
89
CERAMICS
RECOMMENDED BOOKS
Bellington, D.
Brankston, A.
Bushell,
S.
Garner,
Sir
W.
L.
W. B
1899.
London, 1954.
London, 1958.
Hobson, R.
Honey,
New York,
Harry.
Gompertz, G.
Gray, B.
Early
London, 1953.
London, 1915.
The Ceramic Art of China and Other Countries of the Far East.
London,
1949.
Jenyns,
S.
Ming
Jenyns,
S.
Pope,
A.
J.
Volker, T.
London, 1953.
London, 1959.
Societv's exhibitions.
90
Washington, 1956.
London, 192 1
Leiden, 1954.
DECORATION
The
ft
be found in
mediums, but are perhaps of commonest occurTerms relating to the decoration of archaic
be found in the Bronze section. The section of
all
rence in ceramics.
bronzes will
Buddhist terms
human
may
also
figures.
flowers,
or
close
floral
scrolls in
pink,
especially
common from
the
See
Finger Citron.
riches
and honours',
a four
known
as
fabulous
the
creature
sometimes
Kylin,
the
It
the Chinese unicorn.
be leonine, with scales and
horns, or it may be an elegant
cloven-footed beast, with or without scales, with a bushy mane and
tail, and a horn, or a pair of horns.
Variations are extremely numerous and impossible to classify
satisfactorily as the Chinese have,
in the past, given this name to
called
may
many
animals,
including
the
giraffe.
character
on the
usually
found
some way in
incorporated
the decoration.
in
It is
Chung K'uei,
are
many
about
whom there
legends,
depicted as a
Demon
is
usually
Queller, a
9i
Classic Scrolls
large ugly
DECORATION
-fr
looking
Diamond Patterns.
hat, a
imps.
See
also
K'uei
Hsing.
A formal linear
Classic Scrolls.
common
origin,
of
uncertain
as a
decorative
pattern
scrolling
band or border.
of variations.
Cloud
has a
It
number
important
an
Collar,
ferred
to
ju-i
as
pattern',
or
form
it is
four lobed
Diaper.
Repeating geometrical
patterns used as fillers or borders.
Dog of Fo,
Buddhist guardian
lion,
[12a\.
In
See
Trellis Pattern.
bushy
tail
and
is
often
shown
one terminating in a
mon
porcelain
point.
in
onward.
Cloud
and
textile
[12b].
Scroll.
motive show-
and the
Fish,
Knot.
especially in
[12c-g].
way
as
phenomenon.
in overglaze
PLATE
c-g]
j]
12.
Cloud
It
to
suggest this
may
occur
in
DECORATION,
Scrolls.
//]
92
also
enamel decoration
Flaming
a]
Entrails or Endless
A bell
is
occasionally sub-
At times
some of these emblems may be
mixed up with some of the Eight
Taoist Emblems (q.v.),but so long
as only eight emblems appeared
stituted for the
Chakra.
does not
appear to have been very important which ones they were
in
the
that
made up
Classic
Pearls,
decoration,
i]
Scrolls,
Eight
it
b]
Cloud
Collar.
Buddhist Emblems.
PLATE
12
Eight Horses of
In
Ming
times,
substitution
is
rare.
such
[12i].
-fr
Mu Wang.
pin,
born
805,
shown with
Eight Horses of
The
The
(q.v.).
both
as a
common
horses are
as small figures in
decoration
(6) Lii
Tung-
c.
a fly-whisk,
is
honoured
He also had a magic
as such.
sword with which he performed
great feats, for which reason he is
also the patron deity of barbers.
dressed as a scholar, and
(7)
Han
nephew of
the
T'ang Dynasty
Han
Yii,
is
a flute,
and
is
shown with
lain.
often
family,
Sung Dynasty.
(1)
The
eight
are;
who
always carries a
crutch and a gourd; he is the
emblem of the sick. (2) Chung-li
Ch'iian, usually shown with a fan;
crutch,
Lan
man.
(3)
either a
woman
shown with
or a
kuo Lao,
young boy,
a flower-basket; pa-
said to
(4)
Chang-
shown
as
and carrying
a bamboo tube-drum with iron
sticks; he is the emblem of old
men. (5) Ho Hsien-ku, a woman,
said to have lived in the late 7th
century, shown with a lotus
a rule with his mule,
94
as
Ku
or
or
Drum;
the Sheng, or
Reed
(q.v.),
may sometimes
in the category
Emblems
and the
be sub-
Chakra, or Wheel,
of Eight Buddhist
(q.v.).
DECORATION
ft
often
pao,
as
decorative
The
common
ticularly
as
last is
[12/].
Taoist Emblems, or
of the Eight Immortals.
These sometimes appear on the
later ceramic wares and are the
Eight
attributes
by Chung-Li Ch'iian;
Sword of Lii Tung-pin;
Gourd of Li T'ieh-kuai; the
Fan, carried
the
the
of
Ho
Hsien-ku.
are
traditionally
Yin-yang device
(q.v.).
[13#].
par-
ceramic
They
ranks.
Flaming Pearl
Gadroons.
False
Lotus
See
Panels.
term
the Japanese
is
name;
on Chinese
older books
art.
shou, 'Buddha's
tylis.
[13e].
Emblems
bolised either
(q.v.),
eight appeared
it
but so long
as
ally
the
arranged in three
five
happinesses,
by
liter-
sym-
the character^,
by
The
good end
broken
this
to
crown
life,
riches,
of virtue and a
one's
life,
Flaming Pearl,
a motive usually
found in association with dragons,
it occurs in most mediums.
[1 2h]
.
95
Hundred Antiquities
crab-apple,
in lacquer
and
Ho-ho.
See Feng-huang.
Erh-hsien.
Genii of Mirth and
Lotus Panels.
See
Twin
See
Harmony.
carrying
flowers
Hui-hui Wen.
Mohammadan
scrolling
occurs
pieces
The
scrolls,
so-called
a type
decoration which
of
first
Cheng-te
(1506-21), in the
Gadroons.
decoration
Ho-ho
lains
textiles.
&
made
period
Ming dynasty, on
Hai-ma,
'Sea
among
sporting
horses',
waves;
horses
common
Hawthorn Design.
See
Prunus
Pattern.
PLATE
yang.
Diaper,
13.
d]
DECORATION,
Ling-chih.
h]
Shou
k] Trellis Patterns.
96
e]
a]
Hundred
Antiquities, or Po-ku,
are used as decorative motives,
mainly from the K'ang-hsi period
(1662-1722)
i]
and
are
both
sacred and profane.
The term
'Hundred' can only be accepted
implying multiplicity. The
as
most common objects to fall into
Eight Trigrams.
Characters,
onward,
b]
sources,
Lappet,
c]
Yin-
Panel, g] Petal
f] Lotus
Swastika Lozenge.
Shuang-hsi. t]
Ghca
Hundred Children
K'uei Hsing
Hundred Children.
general
ELEURS.
of the
The
Blest.
island
Eastern
shown
as
Commonly
Sea.
a luxuriant landscape,
birds
rivers,
and
inimortaliry.
Ju-i Lappets.
Key
See Lappets.
Fret.
as a
band or
repeating design
a filler;
found on
Kinrande,
'gold
brocading',
It
blue-painted
rarely
on
may
also
bowls,
occur on
and
very
It
tion
enamel.
It is
glass; pieces
marked
generally
are
blue
in
valued
achieving the
rare, his;hly
a short life,
Kuan
Kuan
Ti.
Yii.
Kingdoms; he
a god in the
Wan-li period (1573-1619), and is
Three
the
ot
officially
became
full
an ugly man in
armour, brandishing a sword.
He
is,
usually
shown
as
however,
worshipped
of Literature
and in this form can be confused
with Wen Chang Ti Chun (q.v.)
again appearing as a bearded man,
but with a book in his hand. In
this form he mav also be confused
with K'uei Hsing (q.v.).
The
as a
and
minute-
subjects are
and 1754.
home of
used
in a
The
opaque milky-toned
and of
Hundred Flowers.
the
study.
Isles
DECORATION
:';
secondary
also
God
is
often
God of Literature
K'uei Hsing,
distinguished
by
his
special
his ugliness
attribute,
the
and
Fish-
the
principal
God of
DECORATION
Kylin
Wen
Mohammadan
Scrolls
Chang Ti Chun
mind and
Kylin.
Lotus Panels,
Literature,
(q.v.), in
the popular
See Ch'i-lin.
the
Dutch
mainly
Lambrequin.
See
Cloud
lange
lijsen,
a decoration used
border motive, either
or pendant. [13/]. It
as a
upright
derives ultimately
Collar.
descriptive
from
the lotus
petals
LangeLijsen.
commonly
as a repeating
[13b],
quently referred
identified
as
blossom.
may
sacred fungus,
Polyporus
lucidus,
'false
'lambrequin'.
Mei-hua,
plum
in decoration
mistakenly, as
or
consists
The
Ling-chih.
to,
gadroons'
'gadroons',
[13d]
of an all-over scattering of
flower heads in
many
Mohammadan
colours.
Scrolls,
Liu Hai.
An
immortal
who
seeking
success
mercial undertakings.
in
com-
style
the
first
occur on blue and white porcelains in the Cheng-te period (150621), called by the Chinese huihui wen.
The
rather firmly
and then
filled in
99
of blue.
Po-ku.
commonly
quities.
The term
applied
is
to
fairly
of
style
this
pattern in other
mediums
Ch'ing
See
DECORATION
Hundred
Anti-
scroll
as well,
Precious Pearl.
See
Flaming
Pearl.
cloisonne.
Prunus Pattern.
Mu Wang
Pa An-hsien.
Emblems.
Pa
Chi-hsiang. See
Buddhist Emblems.
Eight
pattern of
flowering prunus with petals falling on cracked ice (q.v.); a design
Pa Hsien.
Pa-kua.
Pa Pao.
See
Eight Precious
See
Eight
Things.
Pa Yin.
Musical
Instruments.
Pao-shan
Hai-shui, 'precious
mountains and sea waters', a
design found round a lower edge
or border, consisting of waves
breaking
against
rocks;
common
may also
most mediums. It
be called 'rock of ages
stylised
to
ground'.
shan hai-shui
a motive common
most mediums, consisting of
Petal Diaper,
to
Po-Hua.
ioo
See Millefleurs.
name.
San Ch'ing,
Ones
DECORATION
San-yu
ft
See
Three Friends.
Shan-shui Scenes.
Landscapes.
Shou Characters.
alisations
[1 3/z]
Shou Lao.
Star
Longevity.
The
An
old
God of
man with a
Eight Immortals
(q.v.).
Shu Wa-wa.
Three Friends
See
Wa-wa.
lowest
right
across
characters.
to
bar
the
unite
that
motive.
two
[13/].
Swastika Lozenge.
may
running
mark
be used as a decorative
[13/].
Three Abundances,
the peach,
persimmon,
life,
a numerous
symbolic of long
progeny and happiness; the persimmon is sometimes replaced by
the pomegranate and
it
flowers at a time
when
grow.
The pine is symbolic of the constancy of friendship in the time of
adversity, and of endurance. The
nothing
else
appears
bamboo, known
to
for durability,
is
Trefoils
Trefoils.
power
See Lappets.
or as a
filler.
forms of it.
DECORATION
-fr
yellow,
blue,
and
green
[13fe].
Twelve Symbols.
These
are
Only
the
display
being
robes, but
Moon
Constellation
[c],
[b],
Mountains [d], Dragon [e], Pheasant [f] Bronze Sacrificial Cups [g]
,
Water Weed
Axe
Grain
[h],
[/],
Fire
[j],
Sun,
[k]
Moon
Sacrificial
the
piety,
and
the
Water,
Five Elements,
Earth.
The Axe
PLATE
14.
stellation,
Sacrificial
Symbol.
102
entitled to
twelve, the
two
last
emblems
The Sun disc is
special
his
authority.
of
us-
usally red and contains the threelegged crow, and the Moon is a
pale watery blue or green and
encloses the
Elixir
They
men
often
are
shown
two
as
short, fat
wealth.
called
In
Ho-ho
erh Hsien.
emperor was
all
c]
Metal,
(Wood) and
represents the
Twelve Symbols,
Moon,
Mountains,
e]
Water Weed,
i]
Cups,
h]
of the
patron deity
DECORATION. The
d]
'First
Dragon,
Grain.
f]
;]
a]
Sun.
Fire,
k]
b]
Con-
Bronze
Axe. I] Fu
Pheasant,
g]
Si
nicE
it
Wa-waYin-yang
spirit
-fr
on gold and
silver ingots.
DECORATION
oriental
origin.
Wa-wa,
children;
children are so
is
designs with
named
because
this
Wu-fu.
Wen
to speak.
principal
Wu
metal,
earth.
104
Old Men,
Five
Mu
Mu,
Ch'in Ching-tz
(Yin),
representing
principle
Willow
The
Lao.
and
half being
representing
and relating
and so on.
dualistic
the
female
the
relating
to
earth,
so on,
and the
light
(Yang),
male principle
In decoration this
cosmological
symbol
Eight Trigrams
(q.v.).
[13c].
DECORATION
RECOMMENDED BOOKS
Cammann,
S.
Chinese Toggles.
Sowerby, A. de C.
Werner,
Werner,
E. T.
C.
E. T. C.
Williams, C. A.
Nature
in
Philadelphia, 1962.
Chinese Art.
New York,
1940.
London, 1922.
Reprinted 1962.
Shanghai, 1932.
Shanghai,
105
JADE AND
HARD STONES
In Europe and America
we
use the
word
jade' to indicate
may mean
these
beautiful stone;
make
that
it
it
two
may
is
also
clear that
word
yii,
two
while
any precious or
For our
means nephrite and jadeite, which in appearhardness, texture, and often in colour are so much alike that
Nephrite
is
a silicate
it is
identical in
and
it
possible to
it
contains iron;
and
make
it is
actinolite.
According to
is
is
106
differ
&
Ch'ing
Ch'ing.
A musical stone; a
roughly L-shaped flat stone ofjade
or other material, suspended from
a frame by a cord that passes
through a hole drilled at the angle
of the two arms. Such stones
may be hung as a chime, or very
large ones may be suspended
alone.
Huan.
disc
This type
ritual significance.
Juan
[1 5c]
modern
Soft jade, a
Yii.
[ISa].
Koro.
Burma
Fei-ts'ui.
brilliant
green colour.
originally
meant
jadeite
of
The name
and
be used nowadays to
a kingfisher,
may
also
mean
kingfisher feathers.
Halberd.
ritual
jade,
which became
also
badge
it is similar to the bronze
form (see Bronze). The tang of
a jade halberd is often ornamented
with narrow ridges or crosscalled ko,
kuei (q.v.),
bronze form
but unlike most bronze
examples,
is
the
bling
Ku-wen.
Han.
jade
the pi
serrated edge.
It
object
re-
with a
(q.v.)
is
believed to
Hua-shih,
literally
raised
on
three short
[1 5d] .
'slippery
be interpreted as
steatite or soapstone, but in contexts relating to ceramics it should
be taken to mean a natural white-
stone'; often to
See Rice
Grain Pat-
TERN.
sceptre;
two forms.
takes
sembling
archaic
legs.
Kuei.
[15b],
Hsuan-chi,
It
resem-
of rank;
hatchings.
this
One
broadly
is an
type
with a slight
one end, sometimes
decorated with rice grain pattern
(q.v.); it was used as an emblem of
office, or as insignia of the nobility.
elongated
point
flat
tablet
at
The
[15fe].
somewhat
other type
(q.v.),
coming
but
to a
point,
rank.
[15g],
Mutton Fat
yang-chih-yu.
rite,
Ceramics).
has
Jade, in Chinese
A pure white neph-
slightly
greasy,
lard-like
107
Pao-liao
Ya-chang
This
appearance.
&
type
has
al-
Spinach Jade.
In Chinese po-
from Siberia
by black flecks of
Not all jade from this
a nephrite
ts'ai-yu;
characterised
See Pao-yao.
Pao-liao.
graphite.
Pao-yao,
the
abrasive
powder used
polishing jade.
it as
name
the Chinese
for
for
Bushell refers to
pao-liao.
A ritual jade.
Pi.
a flat disc
Heaven from
antiquity
down
to
1911.
(2)
The
guard.
The chape on
scabbard.
fitting,
end of the
[15fcj.
(3)
[15/].
(4)
The
sling
from
the belt.
[15/].
[15e].
Po-ts'ai-yii.
ture.
Ts'ui-yii.
Tsung.
ofjade.
[15/].
may
in
size,
stand up
to
18 inches in
and may taper a little towards one end. [15j]. It is regarded as a symbol of Earth.
height,
Siberian Jade.
See
Spinach
Jade.
Skin.
The reddish-brown
oxi-
jade on account of
its
decorative
effect.
PLATE
e]
j]
15.
JADE,
a]
Ch'ing.
b]
Ya-chang.
form of a
somewhat
re-
c]
Huan.
d]
Hsiian-chi.
Pi.
108
PLATE
15
Yang-chih-yii
Yuan
Yang-chih-yii.
Fat Jade.
See
-fr
Mutton
times occurs as a
lain,
mark on porce-
Yiian.
disc
for jade
no
ring.
object
RECOMMENDED BOOKS
Hansford,
Jenyns,
S.
S.
H.
London, 1950.
in the British
Museum.
British
Museum, London,
1951.
Laufer, B.
Jade:
Chicago, 1912.
Salmony, A.
Salmony, A.
Archaic Chinese Jades from the Collection of Edward and Louise B. Sonnen-
schein.
Chicago, 1952.
Whitlock, H.
P.
& Ehremann, M.
L.
New
York, 1949.
Ill
PAINTING
listing
general handbook.
this
They
at the present
late
famous
17th century.
The books
on the
listed at the
on
of each period.
Albums.
size in the
preparation of
painting.
The alum
18 inches
surface.
They
These,
in
usually
height
or
with
width.
of up to a dozen
pages, occasionally more, and may
include both paintings and examples of calligraphy often with
smooth,
very
glossy
slightly
consist
a picture facing a
poem.
PLATE
16.
PAINTING.
Banners.
silk,
or
less
woven
expensive
and winch
hung up
in
tem-
may
be carried in
The subject matter
procession.
is almost invariably Buddhist.
ples,
Alum
112
silk for
helps to give
a-c]
Stems,
d-i]
Leaves.
Hhca
PLATE
16
Boneless Painting
Brush Strokes
Boneless Painting.
Tech-
See
niques.
fc
leaves,
See Techniques,
Ink.
'Swallow
Ching-ya,
Po-mo.
In Chinese
Graded
pi.
[g].
hair
are
goat,
deal
'Swallow in
in
types
f]
flight', five
.
fox,
deer,
Brushes vary
both
size,
as
to
Trees
The
strokes
divided
Those
for
Brush Strokes.
(2)
age in
of
brush strokes and the names given
to them by the Chinese are extremely numerous; the following
in ink
names
Lii-cIiUcIl
steins,
'Bird
claw
pression.
[17a].
'Crab
Hsieh-i
downward curving
a
claw',
'Wild goose
PI All' 17.
'I
Foliage,
short
strokes giving
Hu-sliii
[rd].
foliage,
(fat,
Chieh-tzu
[17c],
ticu,
ud
fjeft,
[17el,
plum blossom
dots,
in
c-ti]
short
upward reach-
for
[c],
Fei-yen,
[18],
horns',
painting
are given.
'Stag's
for foliage,
[161,
when
specific
.--hut i
Lu-chilclu 'Stag
be
(l)
types
can
types,
tor
[17].
The
trees
three
into
Bamboo.
four
[/'].
point.
of
it
four
alighting',
crow',
[/;]
'Goose
boo
two
tail',
'Startled
Lo-yen,
Brush.
strokes for
[d].
Yen-wei,
Broken
two
TAINTING
PAINTING.
[/>].
flight,
|e|.
Sltu-tsti (fat,
foliage.
Brush Strokes:
mouse
[17/7,
frees,
t-4]
1i
^.
;
'
tb
**&fc*>
>th
Wm*
i
PLATE
17
Brush Strokes
Dots
ko 9 for foliage.
Sung-yck
[17 h].
ticn,
hanging
ticn,
Ckii-kua
P'o-pi
tien,
foliage.
[17/].
especially in
Chih.
See Paper.
[17/].
t'ou ticn,
t'ou
foliage.
upward turned
dots
Ch'in Shou.
for
Ch'ing-lu
Techniques.
dots
level
tien,
[17//].
Chiian.
[196],
brushwood
order.
[19d].
P'i-ma,
spread-out
[19c].
in
hemp
dis-
fibres.
sesamum
combined with
strokes
usually
pi-ma above.
Ho-yek,
Colophons.
Chinese t'i-pa.
speaking prose
annotations and may be written
by the painter, his friends, or by
later collectors. Poetic colophons
These are
are
praise
in
lotus
leaf.
Copies.
(1)
[20c].
cloud heads.
or
inspired
by
the
[20c\.
[20 d].
combined
with p'o-nw, 'splashed ink' and
ckiao-mo, 'dry ink' by the Sung
period artist Mi Fei and his
followers and successors.
[20 f].
types.
copy.
[20b].
Mountains
(2)
Mu,
or tracing.
to
copy by
(3)
trans-
Lin, to
copy
massed ink;
18.
n6
of,
painting.
fer,
PLATE
t'i-shih,
like
Cki-nio,
In
strictly
[20a].
veins
Yiin-t'ou,
See
See Silk.
119c].
Ck ili-ma,
Shan-shui.
[19a].
Luan-ch'ai,
See Subjects.
[17///].
Rocks
seeds,
association
[17k].
split
for foliage.
P'ing
vine
chrysanthemum
tien,
Yang
Chieh-hua.
Drawing
with
square and rule; used in the meticulous representation of architecture,
[17$
Ch'in-t'ing
PAINTING
ft
PAINTING,
and colour.
Brush
Dots are
In Chinese tien.
used in ink or in colour for
emphasis or better definition of
Dots.
Trees,
They
unclassified
are
foliage
<HP
yv\i
&<
vow or
g*
PLATE
18
Fans
Mounting
also used
on rocks and
suggest lichens.
PAINTING
<&
trees to
Excessive use of
The
stick
Jen-wu.
See Subjects.
Kan-pi.
See Techniques.
Kung-pi.
These are either nearly
circular, or curved and folding
like the European fan.
The second type is later and was to
be the type introduced to the
West. Landscape and flower
subjects are commonest, but calligraphy alone may be used. They
rubbed down, on a
is
See Techniques.
Fans.
See Techniques.
Mounting.
here
for
T'ien-ti,
area
See Techniques.
Hsieh-i.
itself;
than
greater
protective
Yang-chii,
Hsieh-sheng.
the
To draw from
brocade or
and
life.
bottom.
the
one
silk,
at
strips
top of the
wooden
roller
picture
rolled.
PLATE
u8
into
19.
sticks
and
PAINTING.
which
on
(6)
the
Chou-shou,
ivory,
In
moulded
(5)
from the
Chou, the
may
See Subjects.
is
scroll.
Hua-hui.
of
Feng-tai,
Chiian.
(3)
the
Hua
is
cakes.
porcelain
Piao, labels,
or
narrow
jade.
strips
(7)
on the
Brush Strokes:
Rocks.
s^*\
m&m*
PLATE
19
Pai-Tiao
Scrolls
it
name and
title of the
be in addition the shih-t'ang, poetry hall,
paper mounted immediately above
from
leaves.
artist's
for
ssu-hsiang,
the
may
There
picture.
In
called the
is
'towed
chih,
and the
annotations.
it
the end
at
end
of the painting.
Pai-Miao.
ink
Outline drawing in
shading or
without
only,
Shuang-kou.
washes.
See
Paper.
In Chinese chih.
for painting,
also
it
may
Used
be manufac-
painting
cial variety
limonite.
a vine
Umber combines
well
known.
tured from rice straw, hemp, mulberry, certain types of reed and
bamboo,
See Techniques.
Bamboo
P'o-mo.
See Brush.
Picture
Silk.
Chinese.
This
is
to ready-prepared
Hua-chuan in
the name given
when
silk,
siz-
Scrolls.
the
Pigments.
These
mineral or vegetable.
are
either
Blues are
the width,
derives
of mercury; umber
PLATE
120
20.
PAINTING.
to
so
are
Brush Strokes:
visible
Rocks
at
a-c.
time.
Mountains
The
d-f.
PLATE
20
Seals
Subjects
it
two forms
scrolls,
fore be regarded as
(2)
(4)
record a
round
square,
or
oval,
occasions a fancy
but
may
and on
form such
be
as a
See Subjects.
Shuang-kou.
which
vitality.
Structure
brush.
(3)
draw
its
form.
the colours.
(5)
composition.
rare
gourd.
Shan-shui.
more than
Resonance,
Spirit
(1)
means
generally
general guide.
Seals.
PAINTING
Outline, or double
(6)
boo and
term
foliage
painting.
kou-le, outline,
may
bamThe
also
Splashed Ink.
See Techniques,
P'o-mo.
be
Spilled Ink.
used.
See
Techniques,
P'o-mo.
Silk.
eral
In Chinese chiiau.
term for
this
A gen-
common ground
for painting.
The Chinese
Subjects.
classification
number of
Six Canons of Painting. Formulated by Hsieh Ho in about
a.d. 500, these Canons have always dominated the aesthetics of
Chinese painting, and have been
a yard-stick for
standards of
criticism.
There is much controversy over their proper interpretation into English, especially
of the
others
122
first
one,
follow.
has
love of
resulted
different
in
schemes
at
various
combine
These
to
PAINTING
Tao-shih
ft
Yuan-chin
brush so
used that the hairs separate in ink
painting and leave streaks of unFei-pai, 'flying white', the
Tao-shih.
See Subjects.
Common in
Techniques.
and
The
fingers
examples
may just
as easily
be in
nails
brush.
colour.
T'i-pa.
See Colophons.
Ctiing-lu, blue
ing;
always kung-pi.
Chin-pi shan-shui, gold and green
landscape; gold outlines.
Shui-mo, ink painting, no colour.
P'o-mo,
'broken
ink'.
Having
P'o-mo,
ink*.
'spilled
ink',
'splashed
Painting
strokes,
Tzu-ch'ing Chiian.
celain Blue Silk.
Wrinkles.
See
Por-
Chinese
ts'un.
Shading, modelling; the name
given to the distinctive modelling
In
brush.
Yuan-chin,
spective.
'far
and
near', per-
123
PAINTING
RECOMMENDED BOOKS
Binyon,
Cahill,
L.
J.
Chinese Painting.
London, 1913.
Lausanne, i960.
Kuo
S.
Hsi.
Lee, S. E.
Background
An Essay
to
Chinese Painting.
on Landscape Painting.
O.
The Chinese on
Siren,
O.
Siren,
O.
A
A History
Siren,
O.
Sullivan,
1962.
124
the
London, 1935.
London, 1935.
Cleveland, 1962.
of Chinese Painting.
Painting.
Baltimore, 1935.
Princeton, 1947.
Art of Painting.
Peiping, 1936.
London, 1933.
London, 1938.
M.
The
London, 1956-8.
7 vols.
MISCELLANEOUS
Altar Set. An altar set usually
consists of a cauldron on three or
four legs,
two
vases, or beakers,
Sets are
made
in bronze,
the T'ang
technique
uncertain.
is
varies; there
may
be as many as
and they may
two
also
The
be in differing colours.
Champleve,
on
enamelling
being recessed.
enamels,
Company.
mandel Lacquer.
India
See
Coro-
their
appearance
the
down and
polished,
gilt.
women.
Ch'iang Chin.
may
be found in contexts
where enamelling on porcelain is
upon which
clearly intended.
also
rubbed
and the
is
gold or
is
silver foil
Incised lines in
raw lacquer,
then impressed
with
a piece
on the
of
polished,
off.
technique
of unknown
125
Cinnabar Lacquer
origin,
Heidatsu
as
early as the
Cinnabar Lacquer.
red
lacquer,
from
derived
as
being
of
sulphide
the
mercury known
gains
Brilliant
colour
the
indifferent
vermilion.
The
are created.
cells (cloisons)
cells
are then
filled
is
is
manufacture.
polishing
are
gilt,
to-
See also
A general term
Dragon Robes.
by
administration,
also
on
worn by
the
Guri.
Coromandel Lacquer.
A
name given to screens, chests and
panels with designs cut through
three or four layers of lacquer to
lacquer.
ation
painted
is left
glossy black,
ished
brown
ground.
lacquer was
first
in
which
ing
type of
coloured layers
for
the
of differ-
of polychrome
made
carved lacquers
alternate layers
or red pol-
This
empress, the
texts to describe
the
worn
Champ-
leve.
is
there
now obsolete.
women
process,
metal surfaces.
Technically
difference
exposed by the
type
Coro-
between
Coromandel and what used to be
known as 'Bantam work', a term
little
state occasions.
down
rubbed
After
the
uneven surface
and polished;
The
quality.
name from
its
seems
MISCELLANEOUS
displayed
by
effect,
are
in
which
deliberately
126
Heidatsu
is
a Japanese
term for
&
MISCELLANEOUS
Hsi-p'i
lacquer,
and then
the details.
p'ing-t'o,
than
bed of
lightly incising
but
the
is
term.
Japanese
The
origin
is
not known.
Lacquer
tree
humid atmosphere. It
be stained with almost any
colouring matter, and applied in
dried in a
may
thin layers
show
as the
'rhinoceros skin'
lacquer.
K'o-ssu.
or 'tiger skin'
See Guri.
very fine
try technique,
silk tapes-
which appears
to
usually small.
By
Burgaute. Lacquer
in
is
embedded mother-ofpearl in chips of varying size;
patterns and decorations may be
very complex, and the final effect,
which
when
polished,
pleasing.
is
most
to
surfaces;
it
may
on
a single piece
many
as
may number
100 or more.
as
The Chi-
Lo-tien.
laying
of Ming
It is
perhaps
origin.
Lung P'ao.
Magatama.
meaning
Lac
Mang P'ao
a curved,
Japanese
term
comma-shaped
exceptionally
Mang
type.
on or
Robes
P'ao.
Mang
large
is
of Mang
ordinarily a pyth-
snake,
but in
this
127
^
^L
Hnng-"vni
1368-98
Yung-lo
?k
Yung-lo
1403-24
1403-24
<0
Hsiian-te
1426-35
#-
t^
Ch'eng-liua
Hung-chiii
1465-87
1488-1505
18
J.
ft
Cheng-te
Chia-ching
Lung-ch'ing
1506-21
1522-66
1567-72
it
a
4
^A-
it
Wan-li
T'ien-ch'i
Ch'ung-dien
1573-1619
1621-27
1628-43
A
II.
m i^i
ft
A>
K'ang-hsi 1662-1722
Shun-chih 1644-61
iljJ-
* BUS
12,
ft-*.
3
Si
n-np
ft
CMen-lung 1736-95
Yung-cheng 1723-35
y=
I*
#*
ft at
difi
$&
Tao-kuang 1821-50
Chia-cting 1796-1820
it*
TV
ft
rt
4
ft
Hsien-feng
ft
Tung-chili 1862-73
1851-61
5 aim
* list
Kuang-hsu 1874-1908
Hsiian-t'ung
1909-12
Hung-hsien 1916
(yuan
shih-k'ai)
P'ing-t'o
Nien Hao
instance
it
is
generally a four-
whatever
Such marks usually
object,
material.
of four
do not
century.
Peking Knot.
term for
An
embroidery
a decorative knot,
which
Peking Lacquer.
A name given
Hao.
Reign period, a
term used of date marks incised,
130
its
consist
or
from
Nien
MISCELLANEOUS
P'ing-t'o.
See Heidatsu.
come
GENERAL
RECOMMENDED BOOKS
Ashton,
&
L.
Bachhoeer,
Gray, B.
Burling,
J.
&
Bushell,
S.
W.
Cammann,
A. H.
Ferguson,
2 vols.
(Revised ed.)
M.
Cambridge, 196 1.
China:
Harry.
195 1.
(Reprint.)
London, 1961.
J.
Sir
(Revised ed.)
1946.
London, 1953.
London, 1924.
Fitzgerald, C. P.
Garner,
New York,
Creel, H. G.
Feddersen,
Chinese Art.
Chinese Art.
S.
Carter, D.
London, 1951.
Chinese Art.
L.
Shanghai, 1940.
London, 1951.
London, 1962.
London, 1952.
Jourdain,
Arts of the
Mine Dynasty.
London, 1958.
London, i960.
Sickman,
L. &: Soper,
An
Sullivan,
M.
Willetts,
W.
A.
Harmondsworth, 1958.
Chinese Art.
2 vols.
PERIODICALS
1925
London.
Vol.
Vol.
1925
Ars
Orientalis,
Washington
& Michigan.
Museum
Burlington Magazine,
Connoisseur,
New York.
Vol.
Vol.
1925
Vol.
1954
Vol.
Vol.
1903
1901
Vol.
1945
London.
London.
1929
Far Eastern Ceramic Bulletin, Published in the U.S.A. for the Far Eastern Ceramic
Group. Nos. 1-43. 1 948-1960.
Oriental Art,
London.
New
Series,
London, Vol.
Vol.
1921
1955
131
SOCIETIES
The Chinese Art Society of America in New York.
The Oriental Ceramic Society in London. 31b, Torrington Square, London, W.C.I.
The Oriental Ceramic Society, in spite of the limitation suggested by its name, is
concerned with all aspects of Chinese art. The catalogues of the Society's exhibitions
are valuable.
COLLECTIONS
of Chinese material in museums and
Bristol: Bristol City Art Gallery
galleries
and Museum.
open
Hal Art
Gallery and
Museum.
jades.
Durham: GulbatkUm Museum. Bronzes, jades and hardstones, ivories, ceramics and
A new and growing collection of oriental arts.
textiles,
Edinburgh: Royal Scottish Museum.
lacquer and enamels,
Leeds:
7V'-.V
sh
Lor..
This
.\V:. ;.:-:.
ng :rom Tun-huang.
also includes
it
One of
.
An.
the
the
late
metalwork.
One
ot the
collections.
collection
of
and
late
and early
imperial porcelains
is
The
Museum.
An
of ceramics,
collecti
: :.
textiles
Ceramics.
::
;elains
Sheffield:
Sunlight, Liverpool:
Gallery.
Ivories
collection
Collection.
of Ch'ing
COLLECTIONS
of Chinese material
museums and
in
in the
galleries
States
Late ceramics.
An
United
There
is
also
some
fine sculpture.
Sculpture, ceramics
arts,
and hardstones,
as
well
as
many
on the anthropo-
logical aspect.
growing
collection.
Cleveland:
to
Institute.
quality,
is
its
sculpture, painting
strong in ceramics.
New Haven, Conn.: Yale University Art Gallery. Paintings, bronzes and ceramics.
New York City: Brooklyn Museum ofArt. A small, well-selected collection, supplemented by some
excellent loans.
Museum of Art.
large and important general collection, especially
strong in sculpture, bronzes and ceramics.
Metropolitan
Philadelphia: Philadelphia
Museum of Art.
An interesting
its
sculpture.
sculpture.
textiles.
133
COLLECTIONS
St.
An
San Fransisco: M. H. De Young Memorial Museum. Mainly ceramics, but the recent
addition of the extensive and interesting Avery Brundage Collection has given
this
museum
Seattle: Seattle
new
Art Museum.
importance.
Bronzes, sculpture, ceramics, lacquer and jade.
Mainly ceramics.
Washington, D.C.: Freer Gallery of Art. One of the most valuable collections of
bronzes, early jades and paintings. There are also ceramics and sculpture.
Worcester, N.Y.: Worcester Art Museum.
sculpture and painting.
134
INDEX
Abhaya mudra,
53
Blanc de Chine, 84
Bodhidharma, 47
Ai-yeh, 59
Albums, 112
Bodhisattva, 48
Altar
Bodiless ware, 60
set,
125
Alum, 112
Amitabha, 47
Bottle horns, 16
A-mi-t'o-p'o, 47
Bottle vase, 60
An-hua, 59
Bridal bowl, 60
Ananda, 47
Brinjal bowls, 60
Broad
figure band, 16
Brocade designs, 91
Broken
Bronze
ink, 123
disease, 18
Brown mouth, 60
Brushes, 114
Brush pot, 60
Apsaras, 47
Brush
rest,
Arhat, 47
Brush
strokes,
Arrow
Brush washer, 62
vase, 59
Artemisia
leaf,
59
Asanas, 47
Assault of Mara, 51
Asura, 47
Avalokitesvara, 47
62
1
14-16
Bubble cup, 62
Buckwheat celadon, 86
Buddha, 48
Buddha's hand citron, 95
Bulb bowl, 62
Baluster vase, 59
Cabriole leg, 18
Banners, 112
Cafe-au-lait, 62
Cakra, 48
Batavian ware, 59
Bath, 51
Belt hooks, 16
C and T decoration, 18
Canton enamels, 125
Carved lacquer, 125
Cave.to, 62
Bhadrasana, 47
Celadon, 62
Bhumisparsa mudra, 53
Bird tsun, 16
Clia-yeh mo, 84
Birthday
Champleve, 125
Chandaka, 48
Biscuit,
Black
plates,
60
ting,
60
59
Ch'ai ware, 62
CW ang-ming ju-kuei,
91
135
INDEX
Ctiao-fu, 12 5
Chiieh, 19
Chatter marks, 62
Chiieh-chao, 114
116
Che-t'ai,
Chiieh mark, 65
Cheng, 18
Ch'ui-ch'ing, 6$
Chi-an, 63
Ch'un, 20
Chi-mo, 116
C/ztw, 65
Ch'i, 14
Chung, 20
C/m-/m, 91
Chung
C/n'tf,
K'uei, 91
Cicada, 20
18
Chiang-t'ai, 63
Ch'iang-chin, 125
Cintamani, 48
C/n'ao, 18
Clair-de-lune, 65
Chiao-mo, 116
Classic scrolls, 92
Chiao-t'an, 63
Clobbered china, 66
Chicken cups, 63
Cloisonne, 126
Chicken
Cloud
Cloud
skin, 63
Chieh-hua, 116
92
92
Chieh-so, 116
Chieh-tzu
collar,
scroll,
tien,
114
Colophons, 116
Chien, 19
Compagnie
des Indes, 66
Chien, 19
Compound
C/n'en ware, 63
Conch
mark, 66
Ch'ien mark, 64
Copies, 116
shell
C/2//1,
19
Coral glaze, 66
C/h7z,
120
Coral red, 71
Ch'in-shou, 122
Cracked
Chih-hua, 123
Chih-ma, 116
Ch'in-t'eng
tien,
116
Chinese Imari, 64
Chinese Lowestoft, 64
C/n*a, 19
C/z
%, 94,
95, 107
ice,
92
Crackle, 66
Devil's work, 66
Dharmacakra mudra,
Dhyana mudra,
Ching-ya, 114
Dhyanasana, 48
Diamond
Ch'ing-pai, 64
Diaper, 92
Ching-te Chen, 64
Dots,
C/21'u,
19
Dragon
19, 33
u-chou, 76
tien,
robes, 126
Dragons, 22
Chiu-yen, 64
Chii-hua
66, 92
116
19
Ch
patterns, 92
Dogs of Fo,
C/'o,
Chronology,
116
Drums, 22
Duodenary Cycle, 41
Dvarapala, 48
Chii-lu Hsien, 65
Chiian, 122
136
53
Early Chou, 22
53
INDEX
Earthworm marks, 66
Egg and Spinach, 67
Four Encounters, 51
Fu, 23
Eight Horses of
Mu
Fu
Wang, 94
of,
95
(axe), 14
Fu-kuei ch'ang-ch'un, 69
Fu-lang, 67
Eight Trigrams, 95
Eleven-headed Kuan-yin, 49
Enlightenment, 51
Gadroons, 99
Gandharva, 49
Garniture de cheminee, 69
Garuda, 49
Enamel on
Gautama,
biscuit,
67
Fa-hua, 67, 82
Fa-lan, 67
49, 50
Glutton mask, 23
Gombroon, 81
Gourd Hu, 23
Fa-lang, 6j
Great Renunciation, 51
False gadroons,
99
Famille jaune, 67
Green Chun, 69
Green Dragon, 24
Famille noire, 67
Guri, 126
Famille rose, 68
Famille verte, 68
Hai-ma, 96
Fan-hung, 71
Fang, 116
Hai-ma p'u-t'ao, 24
Hai-shou, 96
Fang-i, 22
Halberd, 107
Fang-sheng mark, 68
Han, 107
Fans, 118
Hang-chou celadon, 69
Farewell to Kanthaka, 51
Fei-yen, 114
Hare's fur, 69
Fen-ting, 85
Hawthorn
Hawthorn
Fei-pai, 123
Fen-tsai, 68
Feng-huang, 95
Finger citron, 95
Five Blessings, 95
First seven steps, 51
Ho, 24
Hinayana, 49
Ho-ho, 95
Ho-ho
erh-hsien,
102
Ho-/eh, 116
Flanges, 23
Hook and
Hu, 23
Flowers of the Four Seasons, 96
Flowers of the Twelve Months, 96
Hsi, 25
Flat
70
Heidatsu, 126
Hsi-p'i,
Hsi
volute, 24
127
Wang Mu, 96
Hsiao-fu-pi, 116
Fo-lang, 67
Hsiao-hun
tien,
114
137
INDEX
Hsieh-chao, 114
Kaki, 72
Hsieh-i, 123
Kalasa, 50
Kan-pi, 123
Hsien, 25
Kanthaka, 51
Hsien, 42
Kao-lin, 72
Hsing, 70
Kasyapa, 50
Hsiu-nei ssu, 70
Key
Jftw, 25
iC/tftt
ware, 72
glost,
fret,
98
Hsuan-chi, 107
Kiln
Hsiian-jan, 118
Kinnara, 50
Hw, 25
Kinrande, 98
Hu-shu
114
tien,
Hua-chuan, 120
Hua-hui, 122
72
Kinuta, 72
Ko, 28, 107
Hwa mark, 70
Ko, 72, 73
Ko-tzu tien, 116
Hua-niao, 122
KWw,
Ham
style,
.Hwrtrt,
25
127
Koro, 107
Kraak porcelain, 72
Ksitigarbha, 50
107
Huang-pan-tien, 70
Ku, 28
Ku
Hundred Antiquities, 96
Hundred Children, 98
Hundred Flowers, 99
Ku-wen, 108
(drum), 28
Ku-yiieh Hsiian, 73
Kua-p'i
Hi,
Kuan jar,
I,
26
73
73
Kuan-ti, 98
Imperial yellow, 71
Ink, 118
.Kuan ware, 73
Kuan-yin, 47
Interlocking T's, 26
Kuang, 28
Iron foot, 71
Kuang-tung, 73
Iron red, 71
JCwe
jKwei,
107
KWi
dragons, 29
Isles
of the
Blest, 98
29
/',
iC'we/ Hsing,
Jadeite, 106
Kundika, 73
Jade Maidens, 96
Kung-pi, 123
Jardiniere, 71
Kuvera, 55
Jatakas, 49
Kylin, 91
98
Jen-wu, 122
Jesuit China, 71
Jingles,
Ladles, 29
/, 71
jM,
Lalitasana, 50
49
_/m-i lappets,
Juan-ts'ai,
72
Juan-yii, 107
138
26
99
Lambrequin, 92
Lang
yao,
Lange
74
Lijsen,
99
INDEX
Mei-hua, 99
Lappets, 99
Lead
Lei,
glaze,
74
Mei-jen, 99
29
Lei-wen, 29
Leys jar, 74
Li, 29
Mei
Li-shui,
77
Mi-lo, 52
74
Mi-se, 77
Lien, 30
Mi-t'o, 47
Lien-hua, 74
Life
kuei,
Mei-p'ing, 77
of Buddha, 50-51
Middle C/ww, 30
Lw, 116
Millefleurs,
Ling, 30
Mm,
99
Ling-chih, 74, 99
30
Mirror black, 77
Ling-lung, 66
Mirrors, 32
Mo
Lih Hd/, 99
Mo-le, 116
Hung, 77
Lo-tien, 127
Mohammadan
Mohammadan
Lo-yen, 114
Loaf centre, 76
Mounting, 118
Lo mark,
76
66,
blue,
Lohan, 47
Mu, 116
Lokapala, 52
Mu Wang Pa chun
Long
Elizas,
99
Lotus panels, 99
Lotus Sutra, 52
77
scrolls,
99
ma, 100
Mudra, 53
Mutton fat jade, 107
Lu-chueh, 114
Nagas, 51, 53
Luan-ch'ai, 116
Nanking
Luan-ma, 116
Nao, 18
china, 77
Lung-cWuan, 76
Narcissus bowl, 77
Lungpao, 127
Nativity, 50
Lute, 76
Net, 28
Magatama, 127
Nien
Mahastamaprapta, 52
Nirvana, 53
Mahay ana,
Northern celadon, 77
Northern Kuan, 78
Nephrite, 106
52
hao, 81,
130
Mallet vase, 76
Man-t'ou
hsin,
76
Oil spot, 78
Mandala, 52
Orange
Mandarin porcelain, 76
Orclos, 32
Mang p'ao,
Oxidizing conditions, 78
127, 130
peel, 78
Manjusri, 52
Mao, 30
Marbled wares, 76
Maya's dream, 50
Mazarine blue, 77
Pa-an Hsien, 95
Pa Chi-hsiang, 100
Pa Hsien, 94
Pa-kua, 100
139
INDEX
Pa pao, 95
Pa yin, ioo
Padmapani,
Po-hua, 100
Po-ku, 96
53
Padmasana, 53
Pagoda, 53
Pai-miao, 120
Pai
Porcelain blue
Po-shan
85
ting,
lu,
24
silk,
120
Pai-tun-tzu, 79
Palace bowl, 78
Powder
Palm
Prabhutaratna, 54
Preaching the Law, 51
eyes, 78
Pan Co
t'ai,
78
blue, 80
P'an, 32
Pao-liao, 108
Paper, 120
P'u-hsien, 54
Parinirvana, 51
P'u-sa, 48
Paryankasana, 54
P'u-t'i-t'a-mo,
Patina, 33
Purple
Peach bloom, 79
Peaches of Immortality, 96
Peacock green, 79
Red
47
ting, 80,
85
Rajalilasana, 54
ting, 80,
85
Peking bowls, 79
Peking knot, 130
Reducing conditions, 80
Rice grain, 81
P'in, 25
Reign marks, 81
Petuntse, 79
Phase, 33
Phoenix
Hill,
79
Pi,
108
Rouleau
Pi,
114
Ruby
Pi-sc,
79
80
Pi-t'ung,
P'i-tna,
Sa-po-ni, 83
Saddharma Pundarika
116
Picn Hu, 33
Picture
silk,
Saggar, 81
120
Pilgrim
flasks,
80
Pin holes, 78
P'in-kno hung, 79
P'ing-t*o,
50, 54
Samadhi, 54
Samantabhadra, 54
San clung, 100
San-ts'ai, 81
127
P'ing-t'oti Hen,
Sakti, 54
Sakyamuni,
Pigments, 120
116
Plait pattern, 33
140
vase, 81
back, 81
San-yu, 101
Sang-de-bceuf, 74, 82
Sutra, 54
INDEX
Sariputra, 54
Spoons, 36
Sastra,
Spring and
54
Autumn
Annals, 36
Scarlet Bird, 14
Spur marks, 83
Square Hu, 36
Sceptre, 107
Scale band, 34
Scrolls,
S-spiral pattern, 36
120
Seal mark, 82
Ssu-pan hua-wen, 36
Seal script, 82
Stilt
Seals,
marks, 83
Stupa, 55
122
Self colour, 82
Su-ma-li blue, 83
Seng-mao hu, 82
Su-ma-ni, 83
Sesamum
seeds, 82
Su-ni-p'o, 83
Bamboo
Grove, 101
Su-po-ni, 83
Shan mirrors, 34
Subjects, 122
Shan-shui, 122
Suburban
Sunflower bowls, 84
Shang, 34
Sung-yeh
Shang-lin hu, 82
Sutra, 55
tien,
116
Shao-hsing, 82
Shen-te T'ang
Altar, 63
tsao,
82
Swatow
wares, 84
Ta-fu-pi, 116
Shu-fu, 83
Ta-jih, 55
Shu mark,
Shu-tsu
83
tien,
114
Ta-nw, 47
Ta-shih, 55
Tai-kou, 16
Shuang-hsi, 10
Tantra, 55
Tao-shih, 123
Shui-mo, 123
T'ao-t'ieh, 36
Te-cliing, 84
Siddartha, 50
Silk,
122
Te-hua, 84
Tea
dust, 84
Simhasana, 55
Sino-Siberian style, 34
Tear marks, 84
Temmoku,
Skin, 108
Ten
Techniques, 123
84
Stems, 38
Sleeping Buddha, 55
Slip, 83
Thunder
Soft Chun, 83
Ti-tscng, 50
pattern, 38
Soft paste, 63
T'i-pa, 116
Sombre Warrior, 14
Tiger skin, 85
Spearheads, 34
Tiger
Ting, 85
Ting, 40
Spiral horns, 36
Ting mark, 85
tally, 3 8
141
INDEX
TLV
mirrors, 40
To, 40
Tobi
86
seiji,
Water
patina, 42
Wavy
line,
42
Wei-mo-chi, 55
Wen Chang Ti Chun, 104
Tortoise Hill, 63
Tortoiseshell bowls, 86
Wen-shu, 52
Ton, 40
White
Tiger, 14
Transitional ware, 86
Whorl circle, 42
Willow pattern, 104
Trefoils, 102
Wrinkles, 123
Wu-chin, 77
Wu-fu, 95
Wu Lao, 104
Tou-ts'ai,
86
Triple lozenge, 41
Truncated vase, 86
Ts'ui
yii,
108
Wu-tsai, 88
Tsun, 41
Tsung, 108
Ya-chang, 108
Tsung-yen, 78
Ya-hsing, 42
Tu
Ya-shou pei, 88
ting,
85
Tui, 41
Yaksa, 56
Tui, 41
Yang-chih
yii,
Yang-t'ou
tien,
Tung ware, 86
Yang-ts'ai, 68
Twelve Branches, 41
Twelve symbols, 102
Yen, 42
Twin
Tzu-chUng
Tz
chiian,
120
107
116
Yen-wei, 114
Harmony, 102
Yen-yen, 88
Yi-hsing, 88
u-chou, 87
Yin-yang, 104
Ying-ch'ing,
Underglaze blue, 87
Urna, 55
Ying
Ushnisha, 55
Yo-chou, 88
64
88
Ying-ts'ai,
no
yii,
Yu, 42
Vairocana, 55
Vaisravana, 55
y, 44
Yw, no
Vajra, 55
Yii-hu-ctiun p'ing,
Vajrapani, 55
Yii-ku, 114
Vajrasana, 48
Ym mark, 89
Vara mudra, 53
Yii wei,
114
Vertical scales, 41
Yii yao,
82
Vimalakirti, 55
Ywe/i,
14
Vitarka mudra, 53
Yiieh,
89
Wa-wa, 104
Wall vase, 87
Ytf,
Wan
Yiin-t'ou,
60
Yiieh-pai, 65
mark, 87
Warring States, 41
Water dropper, 87
142
no
Yuan-chin, 123
116
Zigzag lozenge, 41
**
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