Assuming this inference to be correct, the term yang _ts’ai wu chin_ (foreign painting in a black ground) should mean simply _famille rose_ colours surrounded by a black enamel ground of the type of either No. 2 or No. 3. It is, of course, possible that the _wu chin_ here is the old mirror black glaze on which enamelling in _famille rose_ colours would be perfectly feasible; but I do not know of any example, whereas there is no lack of choice porcelains answering to the alternative description. The two remaining types, _hei ti pai hua_ (white decoration in a black ground) and _hei ti miao chin_ (black ground gilt), apparently leave the nature of the black undefined, but as the expressions appear verbatim in the note attached to No. 52 of Hsieh Min’s list, which is “reproductions of _wu chin_ glaze,” we must regard the black in this case, too, as of the _wu chin_ type. The black ground with gilding can hardly refer to anything but the well-known mirror black glaze with gilt designs; and the white designs in black ground is equally clearly identified with a somewhat rarer type of porcelain in which the pattern is reserved in white in a ground of black enamel of the type of No. 3. There are two snuff bottles in the British Museum respectively decorated with “rat and vine,” and figure subjects white with slight black shading and reserved in a sticky black enamel ground. Both these are of the Tao Kuang period, but there are earlier and larger examples elsewhere with a black ground of finer quality. Such a decoration is scarcely possible with anything but an enamel black, and though there is some inconsistency in the grouping of an enamel and a glaze together in Hsieh Min’s list, they were apparently both regarded as “reproductions” of the old mirror black _wu chin_. Out of the remaining innovations ascribed to T’ang’s directorate, the _fa ch’ing_ (cloisonné or enamel blue) and the _fa long hua fa_ (painting in the style of the enamels on copper) have already been described in connection with Hsieh Min’s list. The latter expression occurs verbatim in the note attached in the Annals of Fou-liang[436] to No. 49 of the list, which is “porcelain with foreign colouring,” and it clearly refers to the free painting on the Canton enamels for reasons already given.[437] It is true that _fa lang_ (like _fo lang_, _fu lang_, and _fa lan_, all phrases suggestive of foreign and Western origin) is commonly used in reference to cloisonné enamel, but the idea of copying on porcelain “landscapes, figure subjects, flowering plants, and birds” from cloisonné enamels is preposterous to anyone who is familiar with the cramped and restricted nature of work bounded by cloisons. It is a pity that Bushell has confused the issue by rendering this particular passage “painting in the style of cloisonné enamel” in his _Oriental Ceramic Art_.[438]