The reproductions of Ming monochromes include the underglaze red and the purplish blue as in the previous reign, and the eggshell and pure white of the Yung Lo and Hsüan Tê periods. The purplish blue or _chi ch’ing_ of this time is illustrated by a large dish in the British Museum which is further enriched with gilding. It is covered with a splendid deep blue of slightly reddish tinge, varying depth and rather stippled appearance, and it was found in Turkey, where this colour has been much prized. Turquoise green, aubergine purple and yellow of the _demi-grand feu_, and the lustrous brown (_tzŭ chin_) in two shades, brown and yellow, are all mentioned in the Imperial list as used with or without engraved and carved designs under the glaze. As for the K’ang Hsi porcelains it may be assumed that practically all their glaze colours were now reproduced. A few only are specified in the list, eel yellow, snake-skin green, spotted yellow, _soufflé_ red, _soufflé_ blue (powder blue) and mirror black (_wu chin_). The term _soufflé_ red may refer to the underglaze red from copper or the overglaze iron red. The latter is further subdivided into _mo hung_ or _ta hung_, the deep red of Ming origin, and the _tsao’rh hung_ or jujube red, a softer and more vitreous[411] variety of the same colour which Dr. Bushell considered to have originated in the Yung Chêng period. On the _soufflé_ red under the glaze we may quote Bushell’s remarks[412]: “Two of the colours especially characteristic of the Nien yao or 'Nien porcelain’ of this epoch are the _clair de lune_ or _yüeh pai_, and the bright _soufflé_ copper red.” The latter is further described on a vase in the Walters collection “exhibiting the characteristic monochrome glaze of bright ruby red tint, and stippled surface. The _soufflé_ glaze is applied over the whole surface with the exception of a panel of irregular outline reserved on one side, where it is shaded off so that the red fades gradually into a nearly white ground.” This panel was afterwards filled in with a design in overglaze enamels. A tazza in the British Museum has this same red covering three-quarters of the exterior, and fading into the white ground. This red also occurs in its beautiful translucent ruby tints on a pair of small wine cups in the same collection, and on a set of larger cups belonging to Mr. Eumorfopoulos. One would say it was the “liquid dawn” tint of the celebrated wine cups of the late Ming potter, Hao Shih-chiu. The _clair de lune_ or moon white (_yüeh pai_), an exquisite glaze of palest blue, is illustrated on Plate 130. It is often faintly tinged with lavender which bears out its description in the Imperial list[413]: “This colour somewhat resembles the Ta Kuan glaze, but the body of the ware is white. The glaze is without crackle, and there are two shades--pale and dark.” The Kuan glaze, it should be explained, was characterised by a reddish tinge.