[145] See _Ming ch’ên shih pi chou chai yü t’an_ (quoted in _T’ao lu_, bk. viii., cf. 4 verso): “For Mu Tsung (i.e. Lung Ch’ing) loved sensuality, and therefore orders were given to make this kind of thing; but as a matter of fact 'Spring painting’ began in the picture house of Prince Kuang Chüan of the Han dynasty....” [146] See _T’ao lu_, bk. viii., fols. 10 and 11, quoting from the _Ts’ao t’ien yu chi_. [147] _T’ang ying lung kang chi_, quoted in the _T’ao lu_, bk. viii., fols. 11 and 12. [148] Chao was supposed to have displayed superhuman skill in the manufacture of pottery in the Chin dynasty (265–419 A.D.). [149] Bk. v., fol. 8. [150] For explanation of these terms, see p. 10. [151] Bushell’s rendering, “cups and saucers,” is misleading if not verbally incorrect. [152] These are Bushell’s renderings. [153] [chch 3] _ssŭ hsŭ t’ou_, a phrase which would more usually refer to the beard than the hair of the head. The above rendering is Bushell’s. [154] [chch 2]. [155] [chch 2]. [156] [chch 3]. [157] [chch 4]. There is an allusion in this name to the story of Hu Kung, a magician of the third and fourth centuries, who was credited with marvellous healing powers. Every night he disappeared, and it was found at length that he was in the habit of retiring into a hollow gourd which hung from the door post. See A. E. Hippisley, _Catalogue of a Collection of Chinese Porcelains_, Smithsonian Institute, Washington, 1900. Hao’s porcelain is also known as _Hu kung yao_ (the ware of Mr. Pots). [158] See _T’ao lu_, bk. v., fol. 10, and bk. viii., fol. 7, and _T’ao shuo_, bk. vi., fol. 26. [159] [chch 2] _luan mu_, “the curtain inside the egg,” which conveys the idea of extreme tenuity better than the most usual expression, “egg shell” porcelain. [160] Half a _chu_. [161] [chch 3]. [162] _Tzŭ chin._ Golden brown with reddish tinge (_tzŭ chin tai chu_), accurately describes one kind of stoneware tea pots made at Yi-hsing (p. 177); but it is not stated whether Hao’s imitations were in stoneware or porcelain. [163] An allusion to the celebrated orchid pavilion at Kuei-chi, in Chêkiang, the meeting place of a coterie of scholars in the fourth century. The scene in which they floated their wine cups on the river has been popularised in pictorial art. See Plate 104 Fig. 1. [164] [chch 2]. [165] The _K’ao p’an yü shih_. [166] Bk. vi., fol. 16 recto. [167] See p. 140. [168] Bk. v., fol. 10 verso, under the heading, _Hsiao nan yao_ (Little South Street wares). [169] [chch 2], apparently referring to the size of the vessels and not necessarily implying that they were shaped like a frog. On the other hand, small water vessels in the form of a frog have been made in China from the Sung period onwards. [170] [chch 2]. [171] A similar ewer in Dr. Seligmann’s collection is marked with one of the trigrams of the _pa kua_. [172] _Cat._, L 24. [173] _Cat._, E 19–25. [174] _Denkmäler Persischer Baukunst_, Plate lii., Text p. 41 and Fig. 44.