Glazes of this kind have been made at several potteries in Japan e.g. Hagi, Akahada, and Seto.[268] Besides such specimens as this, there are many of the streaky, mottled Canton stonewares which are remotely analogous to the variegated Chün wares. The glazes of this type are more fluescent than those described in the preceding paragraph and have greater transparency, and the intention of their makers to imitate Chün types is shown by incised numerals which are occasionally added under the base. They are known in China as Fat-shan Chün, from the locality in which they are made, and though some examples may go back to Ming times, the best may, as a rule, be ascribed to the eighteenth century and the indifferent specimens to the present day. From this digression on Chün imitations to which the mention of Yi-hsing led us, we must return to the original wares. It has been said that Chinese connoisseurs recognise two groups of Chün ware, the _tz´ŭ t´ai_ and the _sha t´ai_, and there is no doubt that the contrast between the body material of the two is very marked. In explanation of this the Chinese to-day allege[269] that the flower pots and stands were made of a tribute clay sent annually from the Ching-tê Chên district to the "Imperial kilns" at Chün Chou, and that the coarser articles were made of native clays. The story has the air of an _ex post facto_ explanation, and it is open to many grave objections. In the first place it is nowhere mentioned in Chinese literature, and in the second place the Chün Chou kilns, so far from having been described as "Imperial" in the Sung dynasty, are entirely ignored by the earlier writers, and even in the late Ming works, where they are first mentioned, the Chün wares are reckoned as of secondary importance. Thirdly, there does not seem to have been any need to import kaolin, for Chün Chou was in one of the kaolin producing districts of China.[270] There are, moreover, many specimens of the Chün type which hold an intermediate position between the finer flower pots and the coarse "Yüan tz´ŭ" wares, and these have a decidedly porcellanous body, though inclined to be yellowish at the base rim. Some of these have glazes almost as smooth and even as the flower pots, and of a beautiful lavender grey colour with patches or large areas of aubergine or amethystine purple, which in rare cases covers the entire exterior of a bowl. In their finer types they are scarcely distinguishable from the specimens which we have tentatively classed as Kuan on p. 65, and in their coarser kinds they seem to belong to the so-called "Yüan tz´ŭ" which are discussed at the end of this chapter.