Another Kuangtung group consists chiefly of figures and objects modelled in the round and coated with rich crimson red _flambé_ or pea green celadon glazes, with a liberal display of dark brown or red biscuit. Figures of the god of War and other deities are often represented, the draperies heavily glazed and the flesh parts in unglazed biscuit, which sometimes has the appearance of being browned by a dressing of ferruginous clay. (See Plate 48.) [Illustration: PLATE 47 Vase of buff stoneware with a scroll of rosette-like flowers in relief: thick flocculent glaze of mottled blue with passages of dull green and a substratum of brown. Kuangtung ware, seventeenth century. Height 10¼ inches. _Benson Collection._ ] Brinkley[385] describes several additional types of Kuang yao, including a buff stoneware with "creamy crackled glaze of t´u Ting type."[386] "The characteristic type is a large vase or ewer[387] decorated with a scroll of lotus or peony in high relief and having paint-like, creamy glaze of varying lustre and uneven thickness, its buff colour often showing tinges of blue." Vases of similar make seem also to aim at copying the red-splashed lavender glazes of the Chün and Yüan wares, and sometimes the colour is very beautiful, but the glaze has distinctive characteristics (see Plate 48, Fig. 2). It is opaque, and lacks the translucent and flowing character of the originals, and the surface has a peculiar sticky lustre, and something of that silken sheen which distinguishes the Canton and Yi-hsing glazes of this class. The crackle, too, is more open and obvious. Some of these pieces have the appearance of considerable antiquity, and are reputed to date back to Sung times.[388] Midway between these and the familiar mottled Canton stoneware come what are known in China as the Fat-shan Chün.[389] Their obvious intention to imitate the old Chün wares is declared by the appearance of numerals incised in Chün Chou fashion under the base. A typical example (see Plate 51) is a high-shouldered flower vase with short neck and small mouth (not a Sung but a Ming form, be it noted), with thick, rolling, crackled glaze of pinkish cream colour, shading into lavender and flushing deep red on the shoulders. In rare instances the crimson spreads over the greater part of the surface. The biscuit at the base is brownish grey if its light tint is not concealed by a wash of dark clay. The glaze, unlike that of the type described by Brinkley, is fairly fluescent, thin at the mouth, and running thick in the lower levels. Other examples of this class have heavily mottled grey or blue glazes nearer in style to the Canton stoneware. Indeed, they are clearly made at the same factory as the latter, for we have a connecting link between the two groups in a vase in the Eumorfopoulos Collection, a tall cylinder with streaky lavender blue glaze and the usual silken lustre, the base of buff colour washed