_Chiang ya_ [chch 2] (lit. ginger shoots) is rendered by Bushell “crested waves,” the metaphor being apparently suggested by the curling tops of the young plant. Cups decorated[132] with the characters _fu shou k’ang ning_ [chch 4] (happiness, long life, peace, and tranquillity). A blue and white vase with these characters in medallions framed by cloud scrolls on the shoulders is shown on Plate 68. =Miscellaneous Motives.= The waterfalls of Pa Shan [chch 2] in the province of Szechuan. Gold weighing-scales (_ch’êng chin_ [chch 2]). A design named _san yang k’ai t’ai_ [chch 4], a phrase alluding to the “revivifying power of spring,” and said by Bushell to be symbolised by three rams. Cf. Fig. 2 of Plate 122. The mark of the Chia Ching period, though not so freely used as those of Hsüan Tê and Ch’êng Hua, has been a favourite with Japanese copyists, whose imitations have often proved dangerously clever. Still, there are enough genuine specimens in public and private collections in England to provide a fair representation of the ware. In studying these the blue and white will be found to vary widely, both in body material and in the colour of the blue, according to the quality of the objects. Plate 77 illustrates a remarkably good example of the dark but vivid Mohammedan blue on a pure white ware of fine close grain with clear glaze. The design, which consists of scenes from the life of a sage, perhaps Confucius himself, is painted in typical Ming style, and bordered by _ju-i_ cloud scrolls and formal brocade patterns. The Chia Ching blue is often darker[133] and heavier than here, resembling thick patches of violet ink, to use Mr. Perzynski’s phrase. This powerful blue is well shown in the large vase given by Mr. A. Burman to the Victoria and Albert Museum (Plate 72), and by a fine ewer in Case 22 in the same gallery. The latter has an accidentally crackled glaze on the body with brownish tint, due, no doubt, to staining. On the other hand, a large double-gourd vase in the British Museum, heavily made (probably for export), is painted with the eighteen Arhats, or Buddhist apostles, in a dull greyish blue, which would certainly have been assigned to the Wan Li period were it not for the Chia Ching mark. This is, no doubt, the native cobalt without any admixture of Mohammedan blue.