The source of the designs of the porcelain is clearly indicated in the following passage in the _T’ao shuo_[117]: “Porcelain enamelled in colours was painted in imitation of the fashion of brocaded silks, and we have consequently the names of blue ground, yellow ground, and brown gold (_tzŭ chin_) ground. The designs used to decorate it were also similar, and included dragons in motion (_tsou lung_), clouds and phœnixes, _ch’i-lin_, lions, mandarin ducks, myriads of gold pieces, dragon medallions (_p’an lung_, lit. coiled dragons), pairs of phœnixes, peacocks, sacred storks, the fungus of longevity, the large lion in his lair, wild geese in clouds with their double nests, large crested waves, phœnixes in the clouds, the son-producing lily, the hundred flowers, phœnixes flying through flowers, the band of Eight Taoist Immortals, dragons pursuing pearls, lions playing with embroidered balls, water weeds, and sporting fishes. These are the names of ancient brocades, all of which the potters have reproduced more or less accurately in the designs and colouring of their porcelain.” The following analysis of the designs named in the Chia Ching lists will show that the blue and white painters of the period took their inspiration from the same source:-- =Floral Motives.= Celestial flowers (_t’ien hua_), supporting the characters _shou shan fu hai_ [chch 4], “longevity of the hills and happiness (inexhaustible as) the sea.” Flowers of the four seasons (the tree peony for spring, lotus for summer, chrysanthemum for autumn, and prunus for winter). Flowering and other plants (_hua ts’ao_). The myriad-flowering wistaria (_wan hua t’êng_). The water chestnut (_ling_). The pine, bamboo, and plum. Floral medallions (_t’uan hua_). Indian lotus (_hsi fan lien_). Knots of lotus (_chieh tzŭ lien_[118]). Interlacing sprays of lotus supporting the Eight Precious Symbols or the Eight Buddhist Emblems.[119] Branches of _ling chih_[120] fungus supporting the Eight Precious Symbols. _Ling chih_ fungus and season flowers. Lotus flowers, fishes, and water weeds. Floral arabesques (_hui hui hua_). Flowers of Paradise (_pao hsiang hua_) [chch 3]. The celestial flowers and the flowers of Paradise are no doubt similar designs of idealised flowers in scrolls or groups.[121] The _pao hsiang hua_, which is given in Giles’s Dictionary as “the rose,” is rendered by Bushell “flowers of Paradise” or “fairy flowers.” Judging by the designs with this name in Chinese works, and also from the fact that the rose is a very rare motive on Chinese wares before the Ch’ing dynasty, whereas the _pao hsiang hua_ is one of the commonest in the Ming lists, Bushell’s rendering is probably correct in the present context. =Animal Motives=, mythical or otherwise.