Painting in underglaze red alone, or in combination with underglaze blue, was freely practised in the reign of Yung Chêng, and probably most of the fine examples of this type in our collections belong to this and the succeeding reign (Fig. 1, Plate 117). There is a good example with the Yung Chêng mark in the British Museum, a vase of “pilgrim-bottle” form with central design of the three emblematic fruits--peach, pomegranate, and finger citron, symbols of the Three Abundances of Years, Sons and Happiness. The fruits are in a soft underglaze red, verging on the peach-bloom tint, and the foliage, together with the borders and accessory designs, are pencilled in dark blue. The Imperial list alludes to this decoration under the heading of “red in the glaze” (_yu li hung_), including (1) red used alone for painted designs, and (2) red foliage combined with blue flowers.[378] Examples of both these styles are frequent in large and small objects, and especially in the decoration of snuff bottles, which often bear the Yung Chêng mark. They are, however, by no means confined to the Yung Chêng period, but have continued in uninterrupted use to the present day. [Illustration: PLATE 115 Vase of baluster form with ornament in white slip and underglaze red and blue in a celadon green ground: rockery and birds on a flowering prunus tree. Yung Chêng period (1723–1735) Height 15½ inches. _Alexander Collection._] Other references in the list[379] to underglaze red painting include designs of three fishes,[380] three fruits, three funguses, and five bats (for the five blessings) in the Hsüan Tê style, red in a white ground; and the same red designs in a celadon green ground, the latter combination being a novelty of the previous reign. Plate 115 is a choice example of the underglaze colours in a celadon ground; and similar designs in a pale lavender blue ground, besides other combinations of the same colours, coloured slips, and high-fired glazes which form the polychrome decoration of the _grand feu_ have been already discussed on p. 146. They belong to the Yung Chêng and Ch’ien Lung periods no less than to the K’ang Hsi.