a visit to a hill which he calls the Kuanyinberg, where a cavern temple exists containing the remains of a colossal statue of Kuanyin. It is now broken, but Mr. Perzynski saw it standing in its enormous stature of three metres high, to which must be added a stand a metre high and two in width. This figure was originally in glazed pottery, possibly also of the T´ang period, but a great part of it had been restored in wood and plaster in the seventeenth century.] [Footnote 59: See _Japanese Temples and their Treasures_, by Shiba-junrokuro, with translations by Mr. Langdon Warner, Tokyo, Shimbi Shoin, 1910, vol. ii., nos. 238, 268, and 300.] [Footnote 60: [Chinese].] [Footnote 61: See p. 17.] [Footnote 62: [Chinese], sometimes written [Chinese].] [Footnote 63: [Chinese] ts´ui sê. Ts´ui is the colour of "a bird with blue-green feathers: a kingfisher" (Giles), and it seems to have been used indifferently to express a bluish green colour and greenish blue like turquoise. In Lu Kuei-mêng's poem it suggests the colour of distant hills. A passage in a seventeenth-century work, the _Ch´i sung t´ang shih hsiao lu_ (quoted in the _T´ao lu_, bk. ix., fol. 8), seems to imply that there were lustrous reflections in the glaze of some of the Yüeh wares. It runs, "Yüeh yao cups with small feet are of the light green (_ch´ing_) of the chestnut husk; when turned sideways they are the colour of emerald green jade (_fei ts´ui_)."] [Footnote 64: See Julien, op. cit., p. 10.] [Footnote 65: [Chinese]] [Footnote 66: See T´ao shuo, bk. ii., fol. 5 recto, quoting the Sung work, _Kao chai man lu_, and _T´ao lu_, bk. ix., fol. 9, quoting a twelfth-century work, the _Ch´ing pi tsa chih_, "The _pi sê_ vessels were originally the wares offered daily to the house of Ch´ien when it ruled over the country. No subject was allowed to have them. That is why they were called _pi sê_."] [Footnote 67: Bk. v., fol. 4 recto.] [Footnote 68: See _T´ao shuo_, bk. ii., fol. 5 verso.] [Footnote 69: For further reference to this important passage, see p. 54.] [Footnote 70: See ch. vi.] [Footnote 71: Bk. vii., fol. 13 recto.] [Footnote 72: _T´ang kuo shih pu_, quoted in the _T´ao shuo_; see Bushell's translation (_Chinese Pottery and Porcelain_), p. 36. It is worthy of note that Hsing Chou was in the same district as Tz´ŭ Chou, which has long been celebrated for its pottery. See p. 101.] [Footnote 73: As stated in _Yo fu tsa lu_, a tenth-century work on music, quoted in the _T´ao shuo_, bk. ii., fol. 4 recto. Twelve cups were used, and they were sometimes marked with numerals.] [Footnote 74: Not to be confused with the more celebrated Ting Chou [Chinese] in Chihli.] [Footnote 75: _ho_ [Chinese], a coarse cloth or serge, used to suggest a brownish tint; cf. _sê ho ju t´ung_ = colour _ho_ like copper.] [Footnote 76: As quoted in the _T´ao lu_ (see Julien, p. 5). The reference does not appear in the British Museum copy of the _Ko ku yao lun_.]