The imperial ware of the Sung dynasty was the _Kuan Yao_ (two Chinese words signifying “official ceramic kiln”). Then there was the _Yo Yao_ porcelain, the early crackled ware; and the _Ting Yao_, a porcelain having a delicate resonant body. This seems to be the most commonly met with among the wares of the Sung period. The _Lung-ch’üan Yao_ of the Sung wares is the famed Celadon ware made in the province of Che-kiang. The Celadon ware of this dynasty is distinguished by its onion-sprout green color. The Celadon wares of later periods turn more either to greyish greens or to sea-green hues. The _Chün yao_ faience was the product of _Chün-chou_, now Yü-chou, a town of the province of Honan. Marvelous indeed were its glazes of unsurpassed brilliancy and beauty of color. The transmutation _flambés_ were especially notable. In the reign of Yung Cheng (1723) the emperor sent a list of Chün-chou pieces to be reproduced by the imperial potteries in Chung-te-chen, from which (record of this being extant) we are able to glean some knowledge of the great variety of glaze colors of the earlier period. In this list appeared crimson-rose, japonica-pink, sky-blue, plum-color, dark purple, millet-yellow, flambés, etc. Early in the eighteenth century all these glazes and colors were reproduced with marvelous skill, but the new white body was probably infinitely superior to the early body. The Chien Yao Ware of the Sung dynasty was produced in Fu-kien province, where lustrous black-enameled tea ceremonial cups were manufactured. These were dappled with specks of white resembling the effect of hare’s fur and partridge breasts. The Japanese treasure these pieces, to which they have given the name “Hare-fur Cups,” above almost any other varieties of Chinese porcelain. We now come to the Ming dynasty, and in the reign of Wan-li (1573-1619) the art of making and decorating porcelain had so advanced that native contemporaries were fond of declaring there was nothing that could not be made of the porcelain. The cobalt blues came into favor in this period, and it is also the time of the famed “Mohammedan blue.” European and American collectors have given a great deal of attention to the blue-and-white porcelains that came in with the close of the Ming dynasty. It was between 1662 and 1722, however, that the very flower of the blue-and-white porcelain was produced. This marks the reign of K’ang Hsi. The K’ang Hsi period (1662-1722) was the culminating one of Chinese ceramic art. Of this porcelain, Bushell says: The brilliant renaissance of the art which distinguishes the reign of K’ang Hsi is shown in every class; in the single-colored glazes, _la qualité maîtresse de la céramique_; in the painted decorations of the _grand feu_, of the jewel-like enamels of the muffle-kiln, and of their manifold combinations; in the pulsating vigour of every shade of blue in the inimitable “blue and white.”