Elaborate designs of flowers, flying phœnixes in peony scrolls, dragons in clouds or waves, formed in relief by pressure in moulds, were certainly used on Sung celadons just as they were in the white Ting wares, but they seem to have been still more common on the Ming wares. But the best and most characteristic Sung decoration was a beautiful freehand carving executed with admirable spirit and taste, in those bold, half naturalistic, half idealised sketches which distinguish the art of the time. Complex ornament, such as landscape and figure subjects, is occasionally found on old celadons; and there is one kind of bowl of rounded form with rather high narrow foot which is decorated inside with groups of figures carved or impressed in intaglio, the subjects being the eight Taoist Immortals, or historical personages such as Confucius, the chess-playing General, etc., usually labelled with their names in Chinese characters. The glaze on these bowls varies widely in colour and texture, being sometimes smooth celadon green, sometimes yellowish or brownish green or again a pale apple green with crackled surface; and it is possible that they come from some district other than Lung-ch´üan.[160] The Lung-ch´üan celadon glaze is singularly beautiful with its soft, smooth translucent texture and restful tints, which vary from olive green through grass green and sea green to pale greenish grey, occasionally showing a decidedly bluish tone. The ware has enjoyed immense popularity in almost every part of the world for untold years, and nowhere more than in Japan, where choice specimens have always been highly valued, and it is not a little surprising to find that in this country alone its merits are underestimated. The Chinese themselves have been always loud in their praises of the finer varieties, though they have not always spoken in complimentary terms of the thick and massive types which were so suitable for the export trade. Of these the _Ch´ing pi ts´ang_ observes that they readily withstand usage and handling, and do not easily break; but the workmanship is somewhat clumsy, and the designs are lacking in antique elegance. With the finer examples within reach, these strictures were perhaps only natural; but there has never been any doubt of the Chinese appreciation of the celadon glaze, for while they have never ceased to reproduce it in other factories, it is always the old Lung-ch´üan ware which serves as their standard and model.