- -  - -K-_   - -                 h




LU- -


I
I
I


--.- -r"














CHINESE
ART








CHINESE ART
One Hundred Plates in Colour
reproducing
Pottery ~& Porcelain
of all Periods
Jades
Lacquer
Paintings
Bronzes, Furniture
etc., etc.
Introduced by an Outline Sketch
of Chinese Art by
R. L. HOBSON
Keeper of
The Department of
Ceramics and Ethnography at
the British Museum
NEW YORK


THE MACMILLAN COMPANY


MICM: XXVII




MiAD AND PRINTED IN GREAT BRITAIN BY
BILLING AND SONS, LTD., GUILDFORD AND ESHER




INTRODUCTION


It is a curious fadt that, in spite of four hundred years of dired trade
with China, we Europeans are only beginning to-day to understand
the real nature of Chinese art. True we have had in the past moments
of enthusiasm for things Chinese when, captivated by the pretty or grotesque
in them, we developed a passion for chinoiserie and magots; but our ideas
were bounded by the already decadent art of the Manchu dynasty, and
even the Ming appeared to us remote and archaic.
To-day we have learnt that the Ming was the last and leasft of a series
of great periods in Chinese art hiftory, which began with the Han and
culminated in the T'ang and Sung dynafties.
Another impression which recent discoveries have profoundly modified
is that Chinese art developed behind closed doors, unaffected by the doings
of the outer world.  It is now clear that in the greatest periods of her
history China not only admitted, but welcomed, influences from Western
and Central Asia-Scytho-Siberian, Hellenimstc, Byzantine, Persian, and
Indian-and that, if in later times she suffered periods of virtual isolation,
she was ready enough to experiment even with European art when she
made its acquaintance in the seventeenth and eighteenth centuries. China
was actually in contact with the Roman Empire in the Han dynasty; and
again in the T'ang, the period of her greatest expansion, she was in constant
communication with Weftern Asia. So that during the years when her
art traditions were being formed she was absorbing outside influences, and
in many ways the art of the T'ang dynasty speaks m a language more
intelligible to the European of to-day than does the more modern art which
we have been taught to regard as typically Chinese. In the Sung dynasty
China was more isolated and her culture developed on conservative and
national lines. During the brief period of Mongol domination which
followed, she recovered her contad with the West, only to be cut off again
in the Ming dynafty. Then for two centuries she was thrown back entirely
on her own resources, and her arts, ceasing to be progressive, tended to
crystallise. Eccentricities were developed, and the extravagant and bizarre
elements became more and more pronounced.
It was these latter and less desirable features of Chinese art which
caught the fancy of the foreign merchant of the seventeenth and eighteenth
centuries, and the Chinese, ever ready to meet a customer half way,
5




CHINESE ART


humoured the foreign caprice and flooded Europe with things which created
a false impression of Chinese taste. While these misguided ideas lasted
t there was no inducement to send us the things more truly Chinese, for
they could always command a better market at home.
Suddenly in the laft two decades the whole situation was radically
changed.   The opening up of China by European-built railways, and
improved facilities for travelling inland, induced men of science and
learning to go and study the ancient capitals and the relics of the great
past which still remain in the interior.  Illustrated works of these pioneer
students, and a few specimens of ancient objects recovered from the earth
which they brought back with them, awakened European Orientalists to
the fact that behind the trivialities of the eighteenth century there Stretched
far into the past great and glorious periods of Chinese art hitherto
undreamt of.
At the same time the accidental opening of tombs in the course of
railway construdion and other engineering work brought to light a
quantity of funeral furniture, including pottery models of human beings,
animals, implements, etc., of great ethnographical and often of considerable
artistic interest, which threw a new light on the life and industry of
ancient China. Many of these found their way to Europe and helped to
feed the new-born intere  in things Chinese.  Collectons were started,
first one and then another, and the increasing demand for specimens was
met by a steady and ever-widening stream from   China, until at last a
market was developed in Europe and America sufficiently favourable to
attract really representative specimens of the earlier and greater periods of
Chinese art which had hitherto been jealously guarded by their native
owners.   So rapid, indeed, has been the progress of this movement that
it has been possible to get together the splendid series of illustrations of
Chinese art of all periods which this volume contains, and almost entirely
from objedts in English collections. The various departments here represented-bronze-casting, jade-cutting, sculpture, painting, textiles, lacquering, and ceramics-have been treated by specialists in the several relatively
expensive monographs in which these illustrations (together with many in
half-tone, and a text written for the needs of the expert) first appeared,*
and the reader is referred for fuller detail to these works.t  In this brief
introdution I can only hope to take a rapid survey of the subje6t as a
whole.
Though the historic period in China does not begin till the Chou
* The iluraons have been seleed by Mssrs. Benn, and the descriptios of them are
those of various experts.


t See p. 15.
6




INTRODUCTION


dynasty (1122-255 B.C.), the legendary and semi-legendary periods are
carried back to 2852, the year in which Chinese chronology is supposed
to have begun.  But no one looked for relics of any artistic effort prior to
the second millennium B.C., until Dr. Andersson (1921-I924) discovered
in Honan and Kansu pottery of finely prepared material and good shape,
and artisthcally painted in coloured clays, which may well date back beyond
the official beginning of Chinese chronology. This find gives some idea
of the possibilities of scientific excavation in China, which is still almost
virgin soil; but at present all the artistic relics of the second millennium B.C.
which we have are limited to a few bronzes of uncertain attribution and
some fragments of carved bone and white pottery found on the site of
the tombs of the Yin dynasty (140I-I122 B.C.). All these are decorated
with the Stiff conventional patterns which are better known to us from a
few authenticated relics of the succeeding Chou dynasty.
The China of the Chou dynasty (II22-255) was a cluster of semiindependent States on the Yellow River. It was a relatively small China,
but it produced such men as Confucius and Lao Tzui, and the books which
are regarded as the Chinese classics. The Chou philosophers and the
Chou books of ceremonies have profoundly influenced Chinese life down
to the present day, and the influence of Chou art never completely disappeared. The relics of this remote period conssit of bronzes, jades, and
a certain amount of pottery which has been recovered from tombs. The
tomb pottery is obviously made for burial and not for use, and in most
cases it imitates the forms of bronze ritual vessels.  The bronzes and jades,
on the other hand, include objets of real artisic value, though they
represent an art which was evidently circumscribed by ceremonial rules
and conventions.  The ornament is almost entirely of an hieratic kind,
and the forms are those of ceremonial vessels; but they are, none the less,
grand and Impressive objets worthy of an age of great men and lawgivers.
The only foreign influence which could have affeted Chinese art at this
time was the Scytho-Siberian, and this could hardly have been felt until
the laft years of the Chou dynasty.
The loose congeries of feudal States was welded into an Empire by
the great Ch'in conquerer, who took the proud title of Shih Huang Ti.
In pursuance of his policy of obliterating the influence of the Chou dynasty
which he had overthrown, he ordered all books to be burnt, and bronze
vessels, which were regarded as hisforic documents on account of their
inscriptions, to be collected together and melted down. The metal was
used to cast colossal statues, which, in their turn, have been destroyed.


The Ch'in dynasty lafted only fifty-five years, and its art can hardly be
dissociated artistically from that of the Han which succeeded; but it is
7




CHINESE ART


certain that about this time radical changes took place. Art was no longer
shackled by prescribed rules and conventions, and the artist and craftsman
were permitted to let their fancy range, and to give whatever shape and
ornament they wished to their creations. The more we learn of Han art
(and fresh specimens are constantly coming to light), the more we are
impressed by the fertility of the artistic imagination which was now set
free. The beauties of natural objects, animals and birds, lively movements
in processional and historic scenes, are finely rendered; and fancy makes
play even with the more conventional animal motives which the Siberian
art of the northern frontier tribes introduced into China. All these
symptoms are reflected by the bronzes and jades of the period.  Pottery,
too, made a great forward Stride by using glaze, which was doubtless learnt
from Western Asia; and even the funeral wares assume artistic forms with
attractive reliefs and incised or pigmented ornament.  Wooden vessels are
coated with red and black lacquers, and on some of them designs of great
refinement are painted and incised; and the rare Han textiles which have
been recovered display a surprisingly advanced technique.
Examples of Han painting on silk or paper are as yet unknown, but
there is good reason to suppose that the art already existed. Mr. Waley
quotes a poem which describes the wall-painting in the Ling-kuang palace
in Shantung in the second century B.C.; and the sculptured stone slabs of
the same province, which were worked in the second century A.D., are
clearly based on painted designs. Moreover, it is unthinkable that the
piktures painted on silk by Ku K'ai-chih in the fourth century are the
incunabula of Chinese painting. His mastery of flowing line and "his
profound and subtle sense of life" bespeak an art which was already
mature.
Nothing is known of Chinese sculpture before the Han dynasty, and
little survives of the work of that period. The Shantung bas-reliefs are
pitures in stone rather than sculptures, and pratically the only relics of
Han sculpture in the round are two half-submerged lions in the enclosure
of the Wu cemetery in Shantung. Though already conventionalised in
form, these lions display great power and vitality, and prove that now,
as later, the Chinese sculptor was specially happy in the representation of
animal force and movement.  It is possible that certain smaller objets in
bronze and jade, such as Mr. Oppenheim's bear and Mr. Raphael's ox,
may belong to the Han period. If so, they must be regarded as evidence
of high sculptural ability, even though expressed on a small scale.
The period between Han and T'ang was full of wars and dynastic
changes, and its records in the matter of art history are at present obscure.
But the documents which survive show progress in all directons.  In


8




INTRODUCTION


regard to painting, we have already mentioned the great name of Ku
K'ai-chih; and Hsieh Ho in the sixth century set out in writing his six
canons of the art, showing that painting had already a clearly formulated
technique.
The spread of Indian Buddhism brought with it a religious sculpture
which reached its highest pitch of excellence in the Northern Wei and Sui
dynasties. The slender, graceful figures of the sixth-century religious
sculpture, with their rhythmic flow of drapery, have a special charm, and
the winged lions of the Liang tombs at Nankig take a high place in the
great animal sculpture of the world.
In the classic period of the T'ang dynasty, when China at its greatest
was, perhaps, the most clvilised power in the world, the progress of the
arts was worthy of the age.  Among the T'ang painters are names which
have become household words: Wu T'ao-tzu, famed for his splendid
religious pithures, painted with amazing breadth and force; Han Kan and
Wang Wei, the latter father of the Sung landscape painting in monochrome ink; and Li Ssu-hsiin, who founded a school of landscape painting
in colours. To-day little remains of the original T'ang work except the
provincial religious pictures recovered from the caves of Tun Huang; but
the influence of the great masters has never been loft, and good copies of
their work refled their touch and power.
The T'ang religious sculptures in the cave temples of Lung Men and
elsewhere are charaderised by greater fulness of the human figure and
more dramatic force than those of the Wei and Sui periods. Much of
this religious sculpture is crudely wrought in accordance with set formulae,
but now and again the Chinese sculptor, in expressing the Buddhist idea
of deep contemplation and aloofness, rises to sublime heights; and such a
Statue as the colossal Buddha at Lung Men must be ranked among the
world's masterpieces in stone. It inspires a feeling of awe and reverence,
and has a presence which is felt, as in a lesser degree we feel the presence
of the fine pottery Lohan in the British Museum.
Chinese sculpture, being mainly religious, is impersonal, and few names
of the artists have survived. Han Po-t'ung and Yang Hui-chih of the
T'ang period are exceptions, and we are told that the splendid bas-relief
horses made for the mausoleum of T'ang T'ai Tsung were designed by
Yen Li-pen.
Vitality and strength, added to maftery of technique, charadterise the
applied arts of the T'ang period. This is apparent m the metalwork,
jades, textiles, and pottery, materials which the Chinese have always used
with conspicuous skill.


The pottery is distinguished by great beauty of line, showing a maftery
9




CHINESE ART


of the wheel and a genius for form. Its decoration is largely in coloured
glazes-blue, green, amber-yellow, and yellowish-white-disposed in
splashes or mottling, or spaced by strongly incised designs. Stamped and
applied reliefs were freely used, and painting with a brush is. not unknown.
The discovery of porcelain had already been made, though we have yet to
learn exatly when and how this Important event happened.
The second classic period of Chinese art is the Sung (960-1279). It
was an age of great masters in painting. Landscape was the favourite
theme, and its votaries were divided into several schools. There was
the strictly traditional school, which followed the older masters almost
slavishly; but in a moment of reaction from this style the Emperor Hui
Tsung (II01-25) ordered his academicians to make Nature their model.
Ma Yuan and Hsia Kuei are prominent among those who abandoned the
formal conventions of the past, painting with a free style (and in diluted
ink) those romantic landscapes which are poetic visions rather than mere
views of scenery.
The typical Chinese "landscape with figures" was the invention of
Kuan T'ung in the early years of the tenth century. Other naturallhsic
themes rendered with masterly skill by the Sung artists were birds and
flowers, and the work of the period m general was charaterised by
"simplicity and nobility of lne and the utmost refinement."  Portrait
painting, too, was carefully studied, the aim of the artist being, with true
Sung feeling, to " transmit the soul of the sitter."
In sculpture the old severity of line, already softened by the T'ang
artists, now completely disappeared: the figures are rounded and almost
sensuous, and the human beauty of the features shows little trace of religious
asceticism. From this time onwards sculpture shows a definite decline,
though excellent work was still done in the smaller statuettes of metal,
jade, wood, ivory, and pottery.
After-generations in China have always spoken of Sung pottery and
porcelain in reverential tones, and what we know of both fully justifies
this attitude. The Sung wares differ so widely from the T'ang that it is
hard to compare their relative merits. The soft, white pottery with
brightly coloured lead glazes was now definitely replaced by hard porcelain
or stoneware with high-fired felspathic glazes, displaying a new range of
tints, mostly monochrome-ivory and cream-white, subtle greens and
greys, pale clair de lune, deep browns and blacks, and gorgeous crimson
reds and purples. The shapes are still refined and simple, except when
they are deliberately complicated by copying archaic bronzes, and if
decoration is added it usually takes the pure ceramic forms of carving,


incising, and moulding in relief. These methods were dictated by the
I0




INTRODUCTION


prevalent use of monochrome glazes; but there are certain kinds of Sung
stoneware, such as that made at Tz'u Chou, on which painted designs in
black and brown were effectively used. But whether painted or otherwise,
the decoration reflects the simplicity, refinement, and the masterly spacing
which distinguish the silk-painting of the time. Decoration in underglaze
blue and in coloured enamels on the glaze, though pracised to a certain
extent on the minor wares, had not yet become fashionable.
With regard to the other minor arts, though they are less richly
represented in European collections, it can be stated with confidence that
they flourished with no less disfin6hon than the ceramic under the Sung.
The metalwork of the period is little knowh, and it is hard to differentiate
it from the T'ang; but we know that the Sung bronze-workers were very
skilful in reproducing the ancient Chou and Han types. The same passion
for the antique, stimulated by great colle6tions which were formed at this
time, affeded the jade-cutters and other craftsmen.
The few specimens of lacquer attributable to the Sung are either plain
red and black, which is scarcely disfinguishable from the Han work, or
elaborately inlaid obje&ts following the T'ang traditions as we know them
from the famous Shoso-m collection at Nara, in Japan.
In the brief Yuan dynasty (1280-I368), when China was a wing of a
great Mongol empire extending across Asia, renewed trade and intercourse
with the Weft must have exerted a certain influence on Chinese art, though
the extent of this influence is not easy to determine with the limited material
at present at our disposal. The Yuan painters, among whom Chao
Meng-fu is one of the most familiar names, tended to revert to the old
traditional style of the T'ang: and if the horse and rider figure frequently
in the pilcures which are to-day attributed to Yuan artists, we may regard
that as the reflechton of Mongol tastes. In other departments the Yuan
work is so hard to separate from the Sung that it would be useless to try
and treat the Yuan period separately in a brief sketch of this kind.
The Mongols, ousted by the native Ming dynasty (1368-i644), were
driven back beyond the Great Wall, where they remained a conftant
menace and a barrier between China and Weftern Asia. What external
trade there was was chiefly conducted by sea. Chinese art drew its
nourishment from its native soil, and it is not surprising to find that the
painters were mainly concerned with copying the old models. The only
Ming sculpture of note consists of some life-sized religious figures in bronze
and cast iron. In the minor arts there were many changes in fashions and
technique, and Ming workmanship on the whole has a commendable


strength and freshness. The golden, or gold-flecked, bronze vessels of
the Hsuan Te period, the excellently modelled bronze statuettes, the deeply
II




CHINESE ART


carved Peking lacquer in shades of red and brown, neatly finished jades,
and well-conceived designs in carved ivory and wood, are all worthy of
mention.
In ceramics the porcelain indufsry at Ching-te Chen developed on
those lines which have made it world-famous. Blue-painted and polychrome porcelains came into fashion, and the old monochrome glazes were
relegated to a secondary position. Painting in coloured enamels on the
glaze became a fine art, and designs were borrowed from pictures and
brocades. The superb Ming three-coloured ware was decorated in coloured
glazes-dark violet-blue, turquoise, leaf-green, yellow, and aubergine
purple-the designs outlined in threads of clay, or by incised lines, and
sometimes carved in relief and pierced a jour. Porcelain of the greatest
delicacy and refinement was made for the Ming emperors and their courts,
the reigns of Hsuan TO and Ch'eng Hua in the fifteenth century being
specially noted for such productions; but Ming ceramics were first known
in Europe by the stronger and rougher articles, which were made in great
quantities for the export trade. Naturally these wares are still more
familiar to-day than the dainty articles made for native connoisseurs, and,
though not comparable to the latter in refinement, they have a vigour and
freshness of design which have earned them an honourable place in Western
collectons.
The art of the Manchu, or Ch'ing, dynasty (1644-1912) has little that
is new to show us. Age-long tradition had brought perfect mastery of
material and technique, but m the absence of new inspiration the inevitable
signs of decadence appear. Except for clever work in the traditional styles,
Ch'ing painting is undifsinguished, though it is fertile n pretty designs of
a minor kind; and, as Mr. Binyon says, ths later painting of the Ming and
Ch'ing periods "has given Europe almost all the floral motives m decoration
that it knows."
In the early decades of the eighteenth century imitation of the antique
was again the rage. Bronzes and jades were modelled on pre-Han types,
and porcelain on the classic wares of the Sung and Ming. The ceramic
art of the time is distinguished by refinement of material and perfetion of
technique, and if there is a lack of spontaneity in the decoration, nothing,
at any rate, is wanting in the finish of the ware. The wonderful sapphire
blue of the K'ang Hsi blue and white owes its purity and brilliance to
careful preparation of the cobalt mineral from which the colour is derived.
The famille verte, a development of the Ming five-colour ware, is distingulshed by a beautiful violet-blue enamel, the use of which, hardly
known to the Ming potters, obviated the difficult combination of underglaze blue with overglaze enamels. The enamel colours-green, yellow,


12
12




INTRODUCTION


aubergine, and a composite black-are used with fine effect on the
unglazed biscuit as well as on the glazed surface.  But the chief contribution of the Ch'ing potters to the ceramic art is in monochrome glazes.
The K'ang Hsi sang de boauf red, though made to rival the early Ming
"sacrificial" red, has a character of its own.  "Peach-bloom" glaze was
another success of the period. Mirror-black is claimed as a K'ang Hsi
invention, and so is powder-blue, and there are numerous other monochromes such as iron-rust, tca-duft, souffle red, mustard-yellow, apple, sage,
and camellia-leaf greens which are peculiarly Ch'ng, besides the opaque
colours of the famille rose such as ruby-pink and the " bird's-egg " glazes.
In the third decade of the eighteenth century the transparent famllle
verte enamels were largely superseded in porcelain decoration by the opaque
colours of the famille rose, in which various shades of pink and carmine
(derived from gold) play the title-role, and from now onwards the famille
verte enamels rarely appear except in a mixed scheme of transparent and
opaque colours. With this mixed palette refined work was done by a
school of decorators which took its name from Ku Yieh-hsiian, a maker
and decorator of glass who flourished at the beginning of the Ch'ien Lung
period.
The Emperor K'ang Hsi founded an academy for applied arts m
Peking, where metal-work, glass-making, lacquering, enamelling on metal,
wood- and ivory-carving, jade-cutting, etc., flourished under the imperial
aegis for more than a century. The red Peking lacquer of this and the
two succeeding reigns is distinguished by minute and skilful carving which
we cannot but admire, even when we weary of its wealth of ornamental
detail. Similar feelings, indeed, are inspired by most of the eighteenthcentury Chinese art-works. They are wonders of technique, but lack the
inspiring touch of genius and originality.
Since the eighteenth century Chinese art has been in full decadence.
The best work has been purely imitative, and the rest is hardly worthy
of mention. It is not that the Chinese have lost all their manual dexterity;
their craftsmanship is still supreme, as may be learnt to our cost from
spurious antiques. But they have ceased to produce anything higher than
these. In the days when Chinese art was young and virile it created things
which we now recognise to be among the world's masterpieces. The
great religious paintings of Wu T'ao-tzu have disappeared, and his work
is only dimly reflected by a few early copies; but if they were, as we must
suppose them to have been, far finer than the majestic fresco of three
Buddhist divinities now in the British Museum, they must indeed have


been supreme. The Sung pictures of landscape, birds, and flowers rank
higher, in the opinion of many good judges, than anything of the kind
I3




CHINESE ART
done in Europe. Certainly no European can boaft a greater command of
supple line tan the trained painter-calligraphers of China; and behind
this dexterous brushwork in the classic periods were poetic inspiration and
a carefully considered technique.
But nowhere, perhaps, is the supremacy of the Chinese so marked as
in the ceramic art. The satisfying shapes of the T'ang pottery, the subtly
refined monochrome porcelain of the Sung, and the gorgeous Ming threecolour wares, are things unrivalled. The influence of the Chinese potter
s world-wide, and even when he had passed his prime his work was good
enough to be a model to the nascent porcelain industry of Europe. Indeed,
his ceramic skill is almost uncanny, and we are at a loss to say which
is most admirable, his manipulative power, his instinct for form and
ornament, or his sense of colour, which is as daring and as true as
Nature's own.
In textiles, too, and metalwork the Chinese must be ranked among
the foremoft craftsmen; in the carving of jade and hard stones they are in
a class by themselves, while in wood- and ivory-carving and in lacquering
they share the primacy with their neighbours in Japan.
In short, so much of Chinese art-work is good, and so little really bad,
that in a contest of artistry they would surely be acclaimed the most gifted
nation in the world.
R. L. HOBSON.


Legendary period
Hsia dynafty
Shang dynafty (called Yin
dynafty from 1401)
Chou dynafty
Ch'in dynafty
Han dynafty
Six dynaStics (including
the   Wei,  220-265;
Northern Wei, 86-535;
Liang, 502-557)


CHINESE DYNASTIC DATES
2852-2205 B.C.     Sui dynaty
2205-1766          T'ang dynafty
Five dynamices
1766-1122          Northern Sung
1122-255           Southern Sung
255-206             Yiian dynaty.
206 B.C.-A.D. 220  Ming dynafty
Ch'ing dynafty


589-618
61&8-906
907-960
96o-1127
11I27-1279.  280-1368.  368-1644
*. 1644-x912


A.D. 220-589


Hung Wu
Yung Lo
Hsiian Te
Ch'cng Hua
Hung Chih
K'ang Hsi
Yung Cheng
Ch'ien Lung


PRINCIPAL
1368-1398
1403-1424
1426-1435
1465-1487. 1488-1505


MING REIGNS
Cheng TC
Chia Ching
Lung Ch'ing
Wan Li
T'ien Ch'i


506-1521
1522-1566.. 1567-1572
1573-t6I9
x62x1-627


PRINCIPAL CH'ING REIGNS
1662-1722      Chia Ch'ing
1723-1735      Tat Kuang
1736-1795
I4...  1796-1820
1821-1850




A LIST OF THE BOOKS ON CHINESE ART
(Referrd to on page 6)
ASHTON, LEIGH: An Introduction to the Study of Chinese Sculpture.
Demy 4to. 6o plates.
HETHERINGTON, A. L.: The Early Ceramic Wares of China. Demy 4to.
Out of print. Abridged edition; royal 8vo. 3' plates.
HOBSON, R. L.: Tth Wares ofthe Ming Dynas. Demy 4to.   128 plates.
HOBSON, R. L.: The Later Ceramic Wares of China; being the blue-andwhite, famille verte, famille rose, monochromes, etc., of the K'ang
Hsi, Yung Cheng, Ch'ien Lung, and other periods of the Ch'ing
Dynasty. Demy 4to. 77 plates.
HOBSON, R. L., and HETHERINGTON, A. L.: The Art of the Chinese
Potter, from the Han Dynasty to the end of the Ming. Demy 4to.
x53 plates.
KENDRICK, A. F., and TATTERSALL, C. E. C.: Fine Carpets in the Vidoria
and Albert Museum. Folio. 20 plates.
KOOP, A. j.: Early Chinese Bronzes. Demy 4to.  o plates.
POPE-HENNESSY, DAME UNA: Early Chinese Jades. Demy 4to. 70
plates.
STRANGE, LIEUT.-COLONEL E. F.: Chinese Lacquer. Demy 4to. 60
plates.
WALEY, ARTHUR: An Introduction to the Study of Chinese Painting.
Demy 4to. 50 plates.












Wine-jar with tigerrn  handles and rings of red poter with leaf-gren
glaze encrufted with gold  and silvery iridescence.
Han dynafty. H. 17
Raphael Collelion.
Amphore avec jses tites de tigre et anneaux en fazcnce rouge A glagure.
Feuillage ct incru flons irisies or et argent.
Han. H. 441.
Colledionx Raphail.
Weinkrfriffe, mit Tigermaske und Ringe aus rotem Steinguc, verziert mit
laubgruiner f    eingefasft von goldener und silberner Luftre.
Han jaie.     H. 446 mm.
Sam ming Raphael.




r
vi
f.1.-,


I.~p


-,.A 'T        my 
A          vr .d
-4 i  Sr-,  j
A-  I
1#2 &I i  " % d
 I:                 -.

9'~


II
b,
i          I
0,  1
I I












Figure of a camel with rider. Soft, white pottery, with glaze coloured brown
and green.
T'ang dynafty. H. S"'.
Eumorfopoles CollUeion.
Statuette. Chameau et cavalier. PAte tendre'blanche. Email brun et vert.
T'ang. H. 714 mm.
Collecion Eumorfopoulos.
Figur cincs Kamclreiters. Zartes weisses Steingut mit brauner und griiner
Glasur.
T'ang Dynaftie. H. 714 mm.
Sammlung Eumorfopoulos.




_-16t




I
46,
L 1.1,
ONO*
  #I i


I


I


f












Figure of a lion on a rocky base. Soft, white pottery, with glaze splashed
with green.
T'ang dynafty. H. o10-5#.
Oppenheim Collefion.
0
Statuette. Lion sur un rocher. Pate tendre blanche &labouss& de vert.
T'ang. H. 267 mm.
Colleflion Oppenheim.
Figur cines L6wen auf einem Felsen.  Zartes weisses Steingut mit grun
gesprenkelter Glasur.
T'ang Dynaftic. H. 267 mm.
Sammlung Oppenheim.




5.


V


* I:


AL


N i












Ewer of hard, white pottery, with applied ornaments in relief, the glaze
mottled with green and yellow.


T'ang dynaity. H. io -6".0


Eumorfopoudot Colleaion.


Aiguikre. PMe dure blanche. Dicoration appliqu&c en relief. Email 1taChCt
de vert et de jaune.


T'ang. H. 270 nMM.
Wasserkrug aus hartemr   weissem  A'eingUt, mit
Die Glasur gruin und gelb gefleckt.
T'ang Dynaftie. H. 270 mmn.


Collk6Zwn Eumorfopoulos.
Reliefornamenten veriiert.


Sammiung Eumorlopoulos.




/


i


'1


I!f


7


y^ A
*k^ V














Jar and cover of light buff pottery with wash of white slip, the glaze
coloured green, with touches of blue and yellow.
Lung-ch'uan dynafty. H. 1o- 5.
Eumortoposos Colklion.
Vase a couverclc. Poterie chamois clai, ouvrag6e d'argile blanc. Email vcrt
avec des touches de bleu et de jaune.
Fabrique de Long-ts'iuan. H. 267 mm.
CoUlllion Eumorfopolos.
Deckelkrug aus hellbraunem Steingut mit dunnen weissen Streifen. Grune
Glasur mit Spuren von blau und gelb.
Lung-h'uan Dynaftie. H. 267 mm.
Sammiung Eumorfopoulos.




I


I


'I


-. 'T.












Bottle of grey pottery with wash of white slip and incised ornament under a
glaze, which is locally coloured green and yellow
T'ang dynafty  H. 8 5".
Eumorfopoulos Coldlion.
Boutcille. Poterie grise. Engobe blanc. D&coration grav6e sous un email
colorc de place en place dc vert ct de jaune.
T'ang. H. 216 mm.
Colleion Eumorfopoulos
Graue Steingutflasche mit diinnen weissen Streifen und eingeritzten Ornamenten unter ciner Glasur, die Stellenweise grun und gelb gefarbt it.
T'ang Dynaftic. H. 216 mm.
Sanmmlung Eumorfopoulos.




7                     Aill
-r, -,












s. Water-pot of reddish buff po ry with yellow glaze inside and mottled
aubergine outside.
T'ang dynaly. H. a- 75".
Hesheringson Coflellon.
2. Vase of soft, white pottery with pale Araw-coloured glaze splashed with
blue.
T'ang dynafty. H. 4-9".
Vaaoria and Albert Museum
z. Pot & eau. Poterie rouge chamois. Email jaune I l'intiieur, tachet6
d'aubergine I l'extiieur.
Tarng. H. o~omm.
Colleclion Hesheriugion.
2. Vase. Pate tendre blanche. Email paille clair &claboussi de blMu.
T'ang. H. 124 mm.
Vsaorial and Albert Museumrr.?. Wassertopf aus rotbraunem Steingut, innen gelbe Glasur, ausen geflektes
Aubergine.
T'ang Dynaftie. H. 070 mm.
Salmmiung  Heekerinrgeon.
2. Vase aus weichem, weissem Steingut mit heller Airohfarbiger Glasur, die
blau gesprenkelt ft.
T'ang Dynaftie. H. z24 mm.
Vi~aora und Albert Museum.,




II....  -.
trr
~
o'lk 4












Vase of red pottery washed with white slip, which has been scriped off so
as to leave designs in white relief. The white ornament dabbed with green, and
the whole covered with transparent, yellowish glaze.
Late T'ang dynafty. H. 15.5".
Eumorfopoulos Colletion.
Vase. Poterie rouge. Engobe blanc gratt& pour laisser des motifs en relief.
La d&coration blanche eft lgirement touch&c de vert ct l'ensemble eft recouvcrt
d'un email transparent jaunftrc.
Fin dos T'ang. H. 395 mm.
Collelion Eumorfopoulos.
Wcissgcftreifte Vase aus rotem  Steingut.  Die Strcifen sind abgckratzt
worden, so dass die Zcichnungen im weissen Relief ubrig blicben. Das weisse
Ornament ift mit griin gesprenkelt und das ganze mit durchsichtiger gclblicher
Glasur bedeckt.


Spite T'ang Dynafti. H. 395 mm.


Sammlung Eumorfopoulos.




-,-rl












Ix
z. Bulb-bowl of grey porcellanous ware with purplish opalescent glaze on the
outside and clair-de-lune glaze inside.
Chu~n ware. Sung dynaity. L. 7 -I"
Sehiller Colle(Iion..2. Bulb-bowl of grey porcellanous ware with thick opalescent glaze, grey on
the inside, and grey fireaked with purple and splashed with grey on the outside.
Chu~n ware. Sung dynafty. D. 9-5'.
Eum orfopeuoio Colled'ion.
r. Bol bulbe. Porcelaine grise. Email pourpre changeant i 1'extireur et
clair de lune i l'int~rieur.
Fabrique de Kiun. Song. L. x8o mm.
Coileelion Sehiller.
2. Bol bulbe. Porcelaine grise. Epais email changeant gris I l'intdrieur; ton
sur ton et rays de pourpre A l'ext~rieur.
Fabrique de Kiun. Song. D. -zx mm.
Colleaioi, Eumortopoulor.
x. Schale fuir Blumenzwibebln aus grauer porzellanartiger Masse, aussen
purpurn opalisierend glasiert, innenglasur mondscheinfarben, durchsichtig hell.
Chu~n Fabrikat. Sung Dynaftie. L. i8o mm.
Sammiung Schiller.
2. Schale fu~r Blumenzwiebeln aus grauer porzellanartiger Masse mit schwerer
opalisierender G1aSUr, innen grau, aussen grau und purpurn geftreift und grau
getupfc.
Chin Fabrikat. Sung Dynaftie. D. 241 mm.
Sammlung Eumorlopoudos.




— ".Rmdm- -
I -..
"C' - I I     I -
ii       6 -, -,


%.r-.o.30mw14
so
-    - -— x
-- I ---
         - -
- - 71di












Flower-pot of grey porcellanous ware with opalescent glaze of purple tints
flecked with grey.
Chin ware. Sung dynafty. H. 6' 5.
Benson Collkion.
Pot I tleurs. Porcelaine grise. Email changeant pourpre mouchetd de gris.
Fabrique de Kiun. Song. H. x65 mm.
Colledion Benson.
Blumentopf aus grauer porzellanartiger Masse mit opalisierender Gasur in
purpurnen Schattierungen, grau gefleckt.
Chiin Fabrikat. Sung Dynaftie. H. 165 mm.
Sammlung Benson.




AS4  * X - J   tw I


'!z i,>r
*, a,


ss
l~ ~ L~  ', 1.  Is  ja
I /        <


Et   fl)       1.,
'.,.,4'..
-    L w,~ ' -
4,"
I';1 -

a.












Water-pot of greyish-white porcelanous ware with pae blue opalescent glaz
marked with purple patches.
Kuan ware. Sung dynafty. H. 3'5".
Akxander Colklion.
Pot I eau. Porcelaine blanc-grisitre. Email changeant bleu ple tachetC de
pourpre.
Fabrique de Kouan. Song. H. 89 mm.
Colledion Alexander.
Wassertopf aus grau weisser porzellanartiger Masse hellblauc opalisierende
Glasur, purpurn betupft.
Kuan Fabrikat. Sung Dynaftie. H. 89 mm.
Sammlung Aexander




I a.
I L.0 4












t. Vase of porcellanous ftoneware with blue glaze splashed with red. The lip
is slightly cut down and bound in metal.
Sung dynaty. H. 4i".
Dfvir Coletion.
2. Cup of porcelanous toneware with crushed trawberry glaze outside and
passages of opalescent blue inside.
Sung dynafty. H. 3i".
Alexander ColUetion.
I. Vase. Gris porcelaincux. Email bleu tachetC de rouge. Le bord et
ligirement cassc ct serti de metal.
Song. H. xo4 mm.
Collckion Davis.
2. Coupe.  Grcs porcelaineux.  Email fraise  cras&c  l'extirieur et bleu
opalin, par place, l'int&rieur.
Song. H. 80 mm.
Collelion Alexander.
1. Vase aus porzellanartigem Steingut mit blauer, rot getupfter Glasur, der
Rand ift etwas abgeschliffen und mit Metall eingefasit.
Sung Dynaftie. H. 104 mm.
Sammlung Davis.
2. Tasse aus porzellanartigem Steingut, erdbeerfarbene angerisene Glasur,
die innen mit blauen opalisicrendea Streifen durchsetzt ift.


Sung Dynaftic. H. 80 mm.


Sammlung Alexander.




1%


4


F""'-.


l
pI


S.












r. Vase of " soft Chn " ware with light blue glaze and red marking.
Sung dynafty. H. 4-75".
Eumorfopoulos Colkleion.
2. Bowl of porcellanous fioneware with light blue glaze splashed with purple.
Sung dynafty. H. 3 5".
Alexander Colledion.!. Vase. Pate tendre de Kiun. Email bleu-clair marquet de rouge.
Song. H. 2ao mm.
Colleclion Eumorfopoulos.
2. Bol. Gres porcelaineux. Email bleu-clair tachc de pourpre.
Song. H. 89 mm.
Colletlion Alexander.
z. Vase aus weichem Chuin Steingut, hellblaue, rot markierte Glasur.
Sung Dynaftie. H. i20 mm.
Sammlung Eumorfopoulos.
2. Schale aus porzellanartigem Steingut mit hellblauer, purpurn betupfter
Glasur.
Sung Dynaftie. H. 89 mm.
Sammlung Alexander.




t
W


- 0, " rl
19'
C ",
a
0
I-..4-.


I.












Plate of greyish-white porcellanous ware with bluish opalescent glaze marked
with patches of purple blending with green.
Kuan ware. Sung dynafty. D. 7.4.
Alexander Collecion.
Assiette.  Porcelaine blanc-grisitre.  Email changeant bleuaure tachetA de
pourpre fondu de vert.
Fabrique de Kouan. Song. D. 178 mm.
Collelion Alexander.
Teller aus grauweisser porzellanartiger Masse, blauliche opalisierende Glasur,
grine und purpurne Tupfen.
Kuan Fabrikat. Sung Dynaftie. D. 178 mm.
Sammlung Alexander.




A
I
I












Jar of buff ftoneware with lightly crackled opalescent glaze of pale lavender
blue, with purplish markings at the shoulders.
" Soft Chiin." Yuan or early Ming dynafty. H. 4'5".
Aekxnder Colle&fon.


Cruche. Gras chamois. Email changeant ldgrement craquel blcu lavande
dair. Panse tach6e de pourprc.


Pate tendre de Kiun. Yuan ou debut des Ming.


H. 114 mm.
Collelion Alexander.


Krug aus braunem Stinagut mit lcicht briichiger opalisierender Glasur in hellblauem Lavendel mit purpurnen Zeichnungen am Oberteil.
"Wciches Chiin." Yiian oder friihe Ming Dynaftic. H. z14 mm.
Sammlung Alexander.




. -It.
lb              6
I 


I


p,    A,.
lj     lk        I,












xv'
z.Incense vase of grey porcellanous ware with smooth opalescent glaze of
pale lavender grey tinted with purple.
Chu~n ware. Sung dynafty. D. 3''w
Oppenheim Collealion.
2. Shallow bowl of grey porcellanous ware with op-alescent glaze of lavender
grey splashed with purple.
Chiun ware. Sung.dynafty. D- 5 25OpnemClein
i. Vase I encens. Porcelaine grise. Email lisse changeant gris lavande clair,
teint,6 de pourpre.
Fabricjue de Kiun. Song. D. 86 mm.Coelinpehim
2. Jatte. Porcelaine grise. Email changeant gris lavande tachet6 de pourpre.
Fabrique de Kiun. Song. D. 133 mm.               olcon     pehi
x. Weihrauchvase aus grauer porzelianartiger Masse mit glatter opalisierender
hellgrau-lavendelfarbiger Glasur, purpurn schattiert.
Chuin Fabrikat. Sung Dynaftie. D. 86 mm.
Sammiung Oppenheim
2. Flache Schale aus grauer porzellanartiger Masse mit, opalisierender lavendelgrasier Glasur, purpurn getupft.
Chuin Fabrikat. Sung Dynaftie. D. J13 mm.
Samm Jung Oppenheim.
















XVII
Beaker of porcellanous ware with grey-green celadon glaze. The design is in
the ftyle of an ancient bronze.


Lung-ch'uian ware. Sung dynaiy. H. 9'5'.
Gobelet. Porcelaine. Email gris-vert cdladon.
bronze ancien.


David Colletion.
Dessin dans le ityle d'un


Fabrique de Long-ts'iuan. Song.


H. 24i mm.


Colleion P. David.


Becher aus porzellanartiger Masse, graugruine Seladonglasur. Die Form ift
ciner antiquen Bronze nachgebildet.


Lung-ch'uian Fabrikat. Sung Dynaftie. H. 241 mm.


Sammhung David.






-
I    -,i.    -.     -4   ,     4,,
h, ",.,
44-9. #1 IF I
I 1 ---
I
0      "T,
IV -;            -,












P                    XVIII
x. Tripod incense vase of greyish-white porcelianous ware with luftrous grey
celadon glaze.
Lung-ch'uian ware. Sung dynalty. D. 5 75'.Cldin
2. Incense vase of greyish-white porcelain with a pale greenish-grey celadon
glaze.
Lung-ch'uian ware. Sung dynafty. Fl. 375 75
Raphael Colkldion.
i. Vase tripied & encens. Porcelaine blanc-grisAtre. Email brillant cdIadon.
Fabriquc de Long-ts'iuan. Song. D. 146 mm.
Colleajiom Raphael.
2. Vase N encens. Porcelaine blanc-grisitre. Email gris-vert pile tirant sur
le c~ladon.
Fabrique de Long-ts'iuan. Song. 1-i. 95 mm.
Coldeeijon Raphael.
x. Weihrauchvase auf Dreifuss, grauweisse porellanartige Masse, gla"nzende
graue Seladonglasur.
Lung-ch'uian Fabrikat. Sung Dynaftie. D. 146 mm.
Sammiung Raphael.
2. Weihrauchvase aus grauweissem Porzdla~n, hellgrau grfinliche Seladonglasur.
Lung-ch'uan Fabrikat. Sung Dynaftic. H. 95 mm.
Sammiung Raphael.




'E --


t


r 












XIX
I. Saucer of thick ftone-grey pafie with incised design nd glime of blue
celadon.
Sung dynafty. D. i".
Schdler Colktnoo.
2. Box with lid of ftone-grey pafie with oyter-grey gLae.
Sung dynaity. 2 75 X3 25#.
Barlow CoileA ion.
I. Soucoupe. Phte paisse gris-pierre. Motif grave. Email dladon bleutL
Song. D. 125 mm.
Coilfliop Schilkr.
2. Bofte avec couverde. Phe gris-pierre. Email gris &aille d'huttre.
Song. 70x8omm.
Coiletion Barlow,.
x. Untertasse aus dicker fieingrauer Tonmasse mit eingecmhnittmene Zeichnungen und blauer Seladonglasur.
Sung DynAftie. D. 125 mm.
Sammiuuuug Schiilr,
2. Schachtel mit Deckcl aus ~teingrauer Tonmas, auftcrnfarbene Glasur.
Sung Dynaftic. 7o x 8o mm.
Srnmmslung Barlow.




Stv~,,    ).I.11"  lt , J,-
ih. 4.; 0 -


A -. IJI6,












Dish with incised and applied designs under the glaze.
Lung-ch'uan ware. Sung or Yuan dynafty. D. 14 5#.
Schiller Collection.
Plat. D&oration grav~e et appliqu6e sous l'6mail.
Fabriquc de Long-ts'iuan. Song ou Yuan. D. 367 mm.
Collecion Schilkr.
Schiissel mit eingeschnittenen und aufgclcgten Zcichnungen unter der Glasur.
Lung-ch'iian Fabrikat. Sung oder Yiian Dynaftic. D. 367 mm.
Sammlung Schiller.




"V-41 -
J~I m   (.
t   0 d ti


f
It
t.    I
I -, I                  I


I.- - I *,.  I..-. -                  6.   1
I I                            a   FL, I - -4.,go., A A


A.
404  4 4.,   Wpl                                          v it -
I.I"e,"
f
- - -— ago"












xxI
Bottle of grey porcellanous ware with green celadon glaze and splashes of
luftrous brown.
Lung-ch'uian ware. Sung dynafty. H. Jo 751.
Eumorfopoulos Colletion.
Bouteille. Porcelaine grise. Email vert-cdladon tachet' de brun luftr6.
Fabrique de Long-ts'iuan. Song. H. 273 mm.
Colledlion Eumorlopoulos.
Flaschc aus grauer porzellanartiger Masse, grufne Seladonglasur. Glanzende
braune Tupfen.
Lung-ch'uian Fabrikat. Sung Dynaftie. H. 273 mM.
Sammlung Eumorfopoulos.




'I  - -d
I


ROW"












XXII
Vase of buff-grey ftoneware with coating of white slip painted in black under
a transparent green glaze.


Tz'u Chou type. Sung dynafty.
Potiche. Grts chamois-grisitre.
parent vert.
Fabriquc Ts'eu Cheou. Song.


H. I2".
EumorfopoJulo Colleffion.
Engobe peint en noir sous un email trans

H. 304 mm.


Colleftion Eumorfopoulos.


Vase aus braun grauem Steingut mit weissen Streifen iiberzogen, schwarz
bemalt untcr durchsichtiger gruncr Glasur.
Tz'd Chou Typus. Sung Dynaftie. H. 304 mm.
Sammlung Eumorfopoulos.




—.d
-..d
-...a
—.d












XXIII
Vase of porcelain with carved designs and bluish-white glaze.
Ju type. Sung dynafty. H. 9-75".
Eumorfopouo: Colkeios.
Potichc. Porcelaine. Dcoation sculpe. Email blanc-bleuStre.
Fabriquc Jou. Song. H. 247 mm.
CoUlefion Eumoropodlo.
Vase aus Porzellan mit cingechnitzten Zcichnungen, blaulich weisse Glur.
Ju Typus. Sung Dynaftie. H. 247 mm.
Sammlung Eumortfopool.




ILL












XXIV
Bowl of translucent porcelain engraved and covered, with the exception of
the rim, with light blue glaze.
Ju type. Sung dynafty. D. 7 ".
Hesherington Colkelion.
Bol. Porcelaine translucide gravye. Email bleu-clair exccpt6 sur le rebord.
Fabrique Jou. Song. D. 183 mm.
ColleCion Hetheringron.
Schale aus durchsichtigem Porzellan, eingezeichnet und mit Ausnahme des
Randes mit hellblauer Glasur iiberzogen.
Fabrique Jou. Song. D. 183 mm.
Sammiung Hetherington.




". *.%. — Iwft,"..1 A- -. -
'o. —
" I- I I  -  U. - 0


LI
&
I
('9
j
A












XXV
Vase of porcelain with moulded and carved decoration, and with white
bubbly glaze of a faint blue tinge.
Ju type. Sung dynafty. H. zo".
Oppenheim ColleAion.
Vase. Porcelaine.  D&coration model&e et sculptSe. Email bullule blanc,
16gerement teinti de bleu.
Fabrique Jou. Song. H. 254 mm.
ColleCion Oppenheim.
Vase aus Porzellan mit modellierter und geschnitzter Verzierung, weiss
unregelmassige Glasur mit schwach blauer Farbung.
Ju Typus. Sung Dynaftie. H. 254 mm.
Sammiung Oppenheim.




r.
i
im"












XXVI
Vase of white porcelain with moulded and engraved designs covered with
white glaze of a faintly blue tone.
Ju type. Sung dynafty. H. 5-75".
Eumorfopoulos Colleklion.
Vase. Porcelaine blanche & motifs models et graves. Email blanc ldgrment
tcintd de bleu.
Fabrique Jou. Song. H. 146 mm.
Colledion Eumorfopoulos.
Vase aus weissem Porzellan mit modellierten und eingeschnitzten Zeichnungen, weisse etwas blaulich getonte Glasur.
Ju Typus. Sung Dynaftie. H. 146 mm.
Sammlung Eumorfopoulos.




'4


0


7














XXVII
z. Shallow tea-bowl of buff ftoneware with glae of dark brown on the out.
side, and of purplish-grey with designs in brown-black on the inside.
Sung dynafly. Kian ware. D. 4-6#.
Schillkr Colleion.
2. Tea-bowl of buf ftoneware with glaze of black mottled with yellowishgrey markings on the outside, and of grey with a bluish band on the inside. The
designs on the inside are drawn in brown-black in the glaze.
Sung dynafty. Kian ware. D. 5#.
Schiller Colletlion.
x. Sdbile a the. Gris chamois. Email brun fonc I l'extrieur et gris-pourpre
I motifs brun-noir I l'intirieur.
Song. Fabrique de Kian. D. 117 mm.
Colleion Schiller.
2. Bol I the. Gris chamois. Email noir marbr6 de gris-jaunitre i I'cxtlrieur
et gris I bande bleut6e  I'intcrieur. Au-dedans, les motifs sont dessin6 en brunnoir dans l'Npaisseur du vernis.
Song. Fabrique de Kian. D. 127 mm.
Colledion Schiller.
i. Flache Teeschale aus braunem Steingut, aussen dunkelbraune, innen purpurgraue Glasur mit braunschwarzen Zeichnungen.
Song. Fabrique de Kian. D. 127 mm.
Sammiung Schiller.
2. Teeschale aus braunem Steingut, Glasur aussen schwarz mit gelblich
grauen Zeichnungen versetzt, innen grau mit einer blaulichen Einfassung.
Die Zeichnungen auf der Innenseite sind braun schwarz in die Glasur eingezeichnet.
Sung Dynaftie. Kian Fabrikat. D. 127 mm.
Sammlung Schiller.




I "
i
e
I 't
N












XXVIII
z. Tea-bowl of black ftoneware with black glaze showing 'hare's fur"'
marking.
Sung dynafty. Chien ware. D. 4-75".
Raphael Coildlion.
a. Vase with lid of grey toneware with black glaze and " oil spots."
Sung dynafty. Honan ware. H. 6f.
Eumorfopoulo: Colleajon.
x. Bol A thL. Gras noir. Email noir " fourrure de 1i~vre."
Fabrique de Kien. Song. D. 120 mm.
Colle6lion Raphail.
2. Vase avec couvercle. Grbs gris. Emaij noir et " picots d'huile."
Fabrique du Ho-nan. Song. H. I52 mm.
Colle6Jion Eumorfopoulos.
i. Teeschale aus schwarzem Steingut, die schwarze Glasur ift mit hasenhaarartiger Zeichnung versehen.
Sung Dynaftie. Chien Fabrikat. D. 120 mm.
Sammiung Raphael.
a. Vase mit Deckel aus grauem Steingut, schwarze Glasur mit "Ol6feckcn"
versetzt.
Sung Dynaftie. Honan Fabrikat. H. 152 mM.
Sammiung Eumorfopoulos.




rL
A~












XXIX
x. Goblet-shape  cup of white porcelain with thre fishes in red under the
glaze.
Ming dynafty, Hsiian Te mark in blue (x426-35). H. 3 i
David Colk~lion.
2. Dish of porcelain covered with red glaze, excepting the rim and hollow of
the base, which are white.
Ming dynalty, Hsuan Te mark incised (1426-35). D. 8. 3"
Brislish Museum.
z. Tasse en orine de gobelet. Porcelaine blanche avec trois poissons dessinks
en rouge sous la glaqure.
Ming.H- 7   mm-Colledlion David.
2. Plat en porcelaine. Glafure rouge, excepti le rebord et le fond qui sont
blancs.
Ming. D. 211i mm.
Britisrh Museum.
z. Becherformige Tasse aus weissemn Porzellan mit drei roten Fischen unter
der Glasur.
Ming Dyna~fie. H. 79 mm.
SammIung David.
2. Porzellanschiissel mit roter Glasur u-berzogen mit Aussnahine des Randes
und des Hohiraumes uriter dem Fusse, die weiss sind.
Ming Dynaftie. D. 211 MM.
Britisc les Museum.




.-        -
" io












XXX
Vase of porcelain with designs outlined in threads of clay and coloured with
Ming dynafty, fifteenth century. H. Ix".
yellow, white, and aubergine glazes in a deep green ground.
Anthony de Rothschild Collekion.
Vase. Porcelaine. Motifs a contours filet& d'argile. Glature jaune, blanche
et aubergine sur fond vert fonch.
Ming, 15~ s. H. 304 mm.
Colleclion Antoine de Rothschild.
Porzellanvase mit Zeichnungen in Tonfaden, die gelb gefarbt sind, weisse
und Aubergine Glasuren auf tief grunem Grunde.
Ming Dynaftie, 15. Jahrhundert. H. 304 mm.
Sammlung Anthony de Rothschild.




'I I
-A


4<1,~.
—.10 ___weo
a
I f
-AlmlkL


/1O'












XXXI
Vase of porcelain with designs outlined in threads of clay and washed in with
various coloured glazes.
Ming dynafy, fifteenth century. H. i1 5".
Oppcnheim Collekion.
Vase. Porcelaine. Motifs a contours filet6s d'argile. Glapure par immersion
de diverses coulcurs.
Ming, I5e s. H. 292 mm.
Collelion Oppenheim.
Porzellanvase mit Zeichnungen in Tonfaden, uberzogen mit verschiedenen
farbigen Glasuren.
Ming Dynaftic, I5. Jahrhundert. H. 292 mm.
Sammlung Oppenheim.




cljr1,A -
r1'Ai
k4
a db


I


Of 2












XXXII
Vase of porcelain with designs outlined in threads of clay washed in with
coloured glazes.
Ming dynafty, about 1500. H. 14 5m.
Evan Charteris Colltlion.
Potichc.  Porcelaine.  Motifs A contours filetis d'argile.  Glapure par
immersion, de diverses couleurs.
Miag, vers 1500. H. 368 mm.
Colleclion Evan Charteris.
Porzellanvase mit Zeichnungen in Tonfaden, fiberzogen mit farbigen
Glasuren.
Ming Dynaftic, um 1500. H. 368 mm.
Sammlung Evan Charteris.




I?.V
kk-,                                      I
4#0












XXXIII
Winejar of porcelain with designs outlined in threads of clay washed in with
coloured glazes in a turquoise ground.


Ming dynafty, fifteenth century. H. I3".


Benson Colleaion.


Amphore.     Porcelaine.  Motifs a contours fileths d'argile.
immersion, de diverses couleurs sur un fond bleu-turquoise.


Glaure par


Ming, 156 s.


H. 333 mm.


CoUedion Benson.


Weinkrug aus Porzellan mit Zeichnungen in Tonfaden, iberzogen mit
farbigen Glasuren auf turkisblauem Grunde.
Ming Dynaftic, 15. Jahrhundcrt. H. 333 mm.
S^mmlunl Benson.




A


/


6
aloop,k
6      I.        ----..W. —j
I     !L-       — N
11%.  ob    -
I           t

II
~II
VI












XXXIV
Vase of balufter form with neck cut down. Porcelain with borders of under.
glaze blue and designs outlined in reddish-brown and washed in with enamel
colours in a mottled turquoise ground.
Ming dynafty, fifteenth century. H. I6"
Lindley Scott Collcion.


Vase en forme de baluftre. Col caui. Porcelaine i d&oration bleue peinte
sous la glafure. Motifs a contours brun-rougcetre. Glapure par immersion i
couleurs d'imail sur fond turquoise-marbri.
Ming, 15e s. H. 406 mm.
Collelion Lindlcy Scott.


Dockenformige Porzellanvase mit abgeschliffenem Halsc. Rander in blauer
Untcrglasur, Zcichnungen rot braun, iiberzogen mit Emaillefarben auf gesprcnkeltcm tiirkisblauem Grunde.
Ming Dynaftie, 15. Jahrhundert. H. 406 mm.
Sammlung Lindly Scott.






K
)l
--— <.0
" N.
11        0
f
4


14#
'A -


A


%* I
Midy
I^V  lwl1%











xxxv
Seat of porcelain with designs incised and bordered with threads of clay and
washed in with coloured glazes.
Ming dynafty, about 1500.  H. IB                        n    k
Benson Colle6ionr.
Si~ge. Porcelaine.  Motifs graves,  contours fileths d'argile. Glagure par
immersion, de diverses couleurs.
Ming, vers 1500. H. 333 mm.
Co/edeion Benson.
Porzellanschemel mit eingeritzten Zeichnungen, abgesetzt mit Tonfaden und
uberzogen mit farbigen Glasuren.
Ming Dynaftie, ur 1500. H. 333 mm.
Sammiung Benson.




I11  -zrlA
Cs     12
1 -
I
A -I Z",-  'o


I


K'/


11.-LA'.                 -      ",-ALW                  -r"
-     arx-   -1-:,.     i-,.1


N%1












. XXXVI
Figure of Shou Lao, God of Longevity, in porcelain with coloured glazes.
Ming dynafty, about 1500. H. 0o'4t.
Anthony de Rothschild Collecion.
Statuette de Chou-lou, dieu de Longiviti. Porcelaine. Glaure de diverses
couleurs.
Ming, vers 1500. H. 264 mm.
Collecion Antoine de Rothschild.
Porzellanftatue des Gottes der Langlebigkeit Shou Lao, farbige Glasuren.
Ming Dynaftie, um 1500. H. 264 mm.
Sammlung Anthony de Rothschild.




thL.,Z
- - - V


AD',
F  1


)b.


L. I
(7,-a


'. - ONO*-'qla











XXXVII
Vase of porcelain with designs outlined in threads of clay and washed with
coloured glazes.
Ming dynafty, about. 1500. H. 18-75".
Eumorfopoulos Collelion.
Potiche.  Porcclaine.  Motifs A contours filetds d'argile.  Glapure par
immersion, de diverses couleurs.
Ming, vers 1500. H. 476 mm.
Collelion Eumorfopoulos.
Porzellanvase mit Zeichnungen in Tonfaden, farbige Glasuren.
Ming Dynaftic, urn 1500. H. 476 mm.
Sammiung Eumorfopoulos.




, '. I


I It


4












xxxv"'i


Vase of porcelain with coloured glazes and belts of engraved designs.
Early Ming dynafty- H. 22".
Riphael Collejion.


Potiche. Porcelaine. Glapure de diverses couleurs et bandes de motifs graves.
Debut des Ming. H. 558 mm.
Collealion Raphael.
Porzellanvasc, farbige Glasuren und guirtclformig angeordnete Zeichnungen.
Friihe Ming Dynaftic. H. 558 mm.
Sammiung Raphael.




Ir
~


1 r.0, byrd..,y- "A
t  I "k
— r          -
I         — I, 4         11 -Ap
401 Fli. V
A.
-1












XXXIX
Fish-bowl of hard reddish pottery with designs modelled in low relief and
washed in with coloured glazes.
Ming dynaity, sixteenth century. D. 26 5".
Benson Colkelion.


Bocal a poissons.   Pate dure rougeatre.   Motifs modelels en bas-reliefs.
Glapure de diverses coulcurs par immersion.
Ming, ix6 s. D. 673 mm.
Colleaion Benson.
Fischschale aus feier roter Steingutmasse mit niedrigen Rcliefzeichnungen
und farbigen Glasuren.
Ming Dynaftie, i6. Jahrhundert. D. 673 mm.
Sammlung Benson.




Ir           f...  i
i*
Oa
p
II
4
A












XL


Flower-pot with incised designs and coloured glazes.
Ming dynafty, Cheng Te period. H. 6 25".
Love Coe6Iion.
Pot A fleurs. Motifs incises et glaure de divcrses couleurs.
Ming, periode Tcheng-to. H. 159 mm.
ColUeion Love.
Blumentopf mit eingeritzten Zeichnungen und farbigen Glasuren.
Ming Dynaftic, Cheng Te Periodc. H. 159 mm.
Sammlang Love.




K -- I
1 -4


F —;40 Ca 
4w
le5


I


%I












XLI
Vase of buff-white porcellanou ftoneware with design modelled In relief and
washed over with coloured glazes.
Ming dynafty, sixteenth century. H. 14".
Benton Colleclion.
Potichc. Grcs porcelaineux blanc-chamoisd. Motifs modelis en relief.
Glalure de diverses couleurs Ctendue avec une brose.
Ming, x16 s. H. 356 mm.
Collctlion Benson.
Vase aus.braun weissem porzellanartigem Steingut mit Reliefzeichnungen
und farbigen Glasuren.
Ming Dynaftie, I6. lahrhundert. H. 356 mm.
Sammlung Benson.






i


I -
04


11.












XLII
Vase of buff porcellanous ftoneware with designs in low relief washed in
with coloured glazes.
Ming dynafly (late). H. 8/'.
British Museum.
Potiche. Gras porcelaineux. Chamois. Motifs en bas-relief. Glafure par
immersion, de diverses couleurs.
Fin des Ming. H. 457 mm.
British Museum.
Vase aus braunem porzellanartigem Steingut, Zeichnungen in niedrigem
Relief, farbige Glasuren.
Spate Ming Dynafmie. H: 457 mm.
Britisches Museum.




I/


i
0 4w
N
I L ;


I


vi












XLIII
Vase of buff-white porcellanous ftoneware with design outlined in threads of
clay and washed in with coloured glazes.
Ming dynafty, sixteenth century. H. 18'5"1.
Benson Colecaion.
Vase. Gres porcelaineux blanc-chamois. Motifs a contours filetis d'argile.
Glaaure par immersion, de divcrses couleurs.
Ming, 160 s. H. 470 mm.
Colleclion Benson.
Vase aus braun weissem porzellanartigem Steingut, Zeichnungen in Tonfaden, farbige Glasuren.
Ming Dynaftie, 16. Jahrhundert. H. 470 mm.
Sammlung Benson.




p.


I4


F    'Ooff _.
7, A


hi












XLIV
Wine-jar of porcelain decorated in under-glaze blue and with the background
of the design washed over with red enamel.
Ming dynafty, early sixteenth century. H. I3t;
Vidloria and Albert Museum
Amphore. Porcelaine. Dcoration bleuc sous la gla2ure. Fond de dessin
d'6mail rouge posh par immersion.
Ming, d6but du 16e s. H. 330 mm.
Vidloria and Albert Museum.
Weinkrug aus Porzellan, verziert in blauer Unterglasur, wahrend Hintergrund der Zeichnung mit roter Emaillefarbe iiberzogen ift.
Ming Dyna2tie, friihes I6. Jahrhundert. H. 330 mm.
Vidoria und Albert Museum.




Al
will












XLV
I. Wine-cup of fine porcelain painted in enamel colours.
Ming dynafty, with mark of Chia Ching period (152a.66). D. 3".
Eumorfopoulos Colleiion.
2. Saucer-dish of porcelain with mottled under glaze blue ground. The
designs have a double outline, one in blue under the glaze, and the other in red
over the glaze.
Late sixteenth century. D. 5".
Oppenheim Collkdion.
i. Coupe a vin. Porcelaine fine peinte en couleurs d'cmail.
Ming, marque de la pdriode Kia-tsing (I5=-1566). D. 76 mm.
Colleaion Eumorfopoulos.
2. Plat creux. Porcelaine a fond bleu-marbri post sous la glaSure. Motifs
a double contour, l'un en bleu sous la glasure, I'autre en rouge par-dessus.
Fin du i6e s. D. 127 mm.
CoUlelion Oppenheim.
I. Wcintasse aus feinem Porzellan mit Emaillefarben bemalt.
Ming Dynaftic, mit Zeichen der Chia Ching Periode (522-66). D. 76 mm.
Sammlung Eumorfopoulos.
2. Untertasse aus Porzellan mit gesprenkelter blauer Unterglasur.  Die
Zeichnungen haben doppelten Umriss, blau unter und rot iiber der Glasur.
Spates i6. Jahrhundert. D. 127 mm.
Sammlung Oppenheim.




sk
Alp 1-0
r          --                                    I,:Z!N'
Avg,- A
1%.












XLVI
t. Bowl decorated with Mohammedan blue and green enamel, with scrolls
in leaf gold.
Ming dynafty, Chia Ching period. D. 4'75".
British Museum.
2. Bowl with enamelled ornament. Sixteenth century Augsburg mount.
Ming dynafty, Chia Ching period. D. 4"'
Br6andi Colltdion.
i. Bol d&ori d'Cmail bleu-turquin et vert i cartouches d'or applique.
Ming, p&riode Kia-tsing. D. I20 mm.
British Museum.
2. Bol a d&oration d'cmail. Monture Augsbourg du x6 s.
Ming, p6riode Kia-tsing. D. to1 mm.
Colletion Brandt.
I. Schale dekoriert mit mohammedanischen blau und griinen Emaillefarben,
Arabesken in Blattgold.
Ming Dynaftie, Chia Ching Pcriode. D. 2zo mm.
Britisches Museum.
2. Schale mit cmaillefarben en Ornamenten auf Augsburger Konsole des
I6. Jahrhunderts.
Ming Dynaftic, Chia Ching Pcriode. D. ioi mm.
Sammlung Brandt.




.. v /
T —ff, - -,L... I,  -     I
AV, -, I
-14 - I -
i
-W.,
Az
I
Y. I
P           x.r,..I,- I         I        A


I















XLVII
Ewer with flattened body of porcelain, with enamelled designs, the panels
lightly moulded in relief.
Ming dynafty, Chia Ching period (15=2-66). H. 9 25"
Oppetwhim CoUlclion.
Aiguikre. Porcelaine. Corps aplati. Motifs Emaills. Panneaux leremcat
modelis en relief.
Ming, plriode Kia-tsing (1522-66). H. 234 mm.
Collcefion Oppenheim.
Wasserkanne mit abgeflachtem Bauch aus Porzellan, Ornamente in Emaille,
die Flachen leicht in Relief modelliert.
Ming Dynaftie, Chia Ching Pcriodc (152-66). H. 234 mm.
Sammlung Oppenheim.




A,-ask
AL
I
i
0
I
/y,
0%.Imftl        A


lk f"Ill*j


bb.












XLVIII
Beaker decorated in under-glaze blue and enamel colours.
Ming dynafty, Wan Li mark. H. 22 5a.
Viftoria and Albert Museum.
Gobelet. Dicoration bleue et couleurs d'cmail sous la gla2ure.
Ming, marque Wan-li. H. 571 mm.
Vitloria and Albert Museum.
Becher, in blauer Unterglasur cmaillefarben dekoriert.
Ming Dynafie, Wan Li Zeichen. H. 571 mm.
Viaoria und Albert Museum.




r

% -MP,
4
4bl I


P.>*


I  -)   I   0
4w~
U1)


i












XLIX
Beaker, one of a pair, enamelled on the biscuit.
K'ang Hsi period. H. 8 5".
Hirsch Colledion.
Gobelet dcpareillC. Emaillage sur le biscuit.
Periode K'ang-hi. H. 216 mm.
Coll6eion Hirsch.
Becher, einer von cinem Paar, cnameilliert auf Biscuit.
K'ang Hsi Periode. H. 216 mm.
Sammlung Hirsch.




,
Mmoo    10,- I.
11                                                                    - I
-. i


I!


MA                   l< I
D
V    -
'O
4
I
k
I. I'-,


 v
11
I-t                      lk.,
-L
I
I     11),k      % .1 i


IF   J.,  rlr  or       ---    - --- --- -, -


— - MP -- -- ---   ---- -- ---












L


Vase, one of a pair, decorated in " famille verte" enamels on the glaze.
K'ang Hsi period. H. 29".
Woodman Colkclion.
Vase dCpareillC. Famille verte. DEcoration d'6maux sur la couverte.
PEriode K'ang-hi. H. 736 mm.
Colkeion Woodman.
Vase, eine aus einem Paar, dekoriert mit " famille verte" Emaillierung auf
der Glasur.
K'ang Hsi Periode. H. 736 mm.
Sammlung Woodman.




.,. -e —, l!z-, ""',,
-4              A

4i-'MM


/


Ar
ft-.!J...4t


I


III,r
t,'Ik














Li
Dish of porcelain with etched designs under blue glae.
Ming dynafty, with incised work of Chia Ching period (z5n-66). D. 15".
Vieloria and Albert Museum
Plat. Porcelaine. Ddoration grav& sous une couverte bleuc.
Ming, marque grav& de la piriode Kia-tsing (1522-66). D. 381 mm.
Vieloria and Albert Museum.
Porzellanschiisscl mit geatzten Zeichnungen unter blauer Glaur.
Ming Dynaftic mit cingeritzten Zeichcn der Chia Ching Periode (152266)
D. 381 mm.
Vieboria und Albert Museum.




A
I












LI1


Wine-jar of porcelain with painted designs.
Ming dynasty, Chia Ching period (152-66). H. It-75".
Winkworth Collecion.
Amphore. Porcelainc. DIcoration peinte.
Ming, priode Kia-tsing (522-66). H. 298 mm.
Collection Winkworth.
Weinkrug aus Porzellan mit gemalten Zeichnungen.
Ming Dynaftie, Chia Ching Periode (1522-66)..  98 mm.
Sammlung Winkworth.




fx8 I
"i
c 9


U


10


lw
'A


I
















hhhh..,.
a 0         A
I
I
__z
A.9
I, -0
i%
'i.                                                                                                                        I
I
M,
a
— l
i                                                                                                      I
I
I
I
I
' ',Ty                                                                            'I












LIV
i. Vase with minutely crackled turquoise glaze.
K'ang Hsi period. H. 4'5".
Hetherington Colleliorn.
2. Bowl with engraved designs under brilliant turquoise blue glaze.
K'ang Hsi mark. D. 4 5".
A. T. Warre Collektion.
1. Potiche. Glarure turquoise A minuscules craquelures.
PWrirode K'ang-hi. H. iI4 mm.
Colleclion Hetherington.
2. Bol. Decoration grav6e sous une couverte bleu-turquoise brillante.
Marque K'ang-hi. D. 114 mm.
Collclion Warre
I. Vase mit tiirkisblauer feingerissener Glasur.
K'ang Hsi Periode. H. x14 mm.
Sammlung Hetherington.
2. Schale mit geftochenen Zeichnungen unter glanzender, tiirkisblauer
Glasur.
K'ang Hsi Zeichen. D. 14 mm.
Sammlung A. T. Warre.




r         -












LV
i. Wine-cup of porcelain with yellow glaze outside and white inside.
Ming dynafty, sixteenth century. H. i'"          atrLV      olam
2. Bowl of porcelain painted in enamel colours on the biscuit.
Ming dynafty, with mark of the Chia Ching period (152z-66). D. 7 75".
Eumorlopoulo: Colle6Iion.
x. Coupe A yin. Porcelaine A couverte jaune & I'extfieiur ct blanche A
1l'int~rieur.
Ming, x6e s. H. 36 mm.
Collea ion Walter Livy.
2. Bol. Porcel-aine peinte en couleurs d'imail sur le biscuit.
Ming, marque de la piriode Kia-tsing (15aa-66). D. xi9 mm.
Colle6Iion Eumorfopoulos.
i. Weintasse aus Porzellah mit aussen gelber, innen weisser Glasur.
Ming Dynaftie, i6. Jahrhundert. H. 36 mm.
Sammiung Walter Levy.
2. Porzellanschalc mit Emaillefarben auf Biscuit bemalt.
Ming Dynaffie mit Zeichen. der Chia Ching Periode (1522-66). D. t97 mm.
Sammiung Eumorlopoxlos.




vt,


t         r
4












LVI
Bowl decorated in enamel colours on the biscuit.
Ming dynafty, Chia Ching mark. D. 7 5".
David Collelion.
Bol. Decoration de couleurs d'imail sur le biscuit.
Ming, marque Kia-tsing. D. 190 mm.
Colletlion David.
Schale, in Emaillefarben auf Biscuit verzicrt.
Ming DynaStic, Chia Ching Zeichen. D. 19o mm.
Sammlung David.






All


ai,. -..i
I-f,    11,,     -,     i
-, -I,,-,,              I












LVII
Flower-pot of buff toneware with raised designs washed with coloured glazes.
Ming dynafty, sixteenth century. H. 15 5".
Benson Collekion.
Pot I flcurs.  Gras chamois.  D&coration en relief. Glapure de diverscs
couleurs.
Ming, W6I s. H. 393 mm.
Collection Benson.
Blumentopf aus braunem Steingut, Reliefzeichnungen mit farbigen Glasuren
ibcrzogcn.
Ming Dynaftic, I6. Jahrhundert. H. 393 mm.
Sammlung Benson.




7-,  ' A  e
OWf<
PI~
~~~~0 1p












LVIII
i. Incense-box and cover of moulded porcelain with coloured glazes.
Schuller Collealion.
2. Incense-burner of moulded porcelain with coloured glazes. This and the
box above are part of a set of furniture for the writing-table.
H. (without handles) 3".                          pehi        olao
I Bo'ite A encens et couvercle. Porcelaine rnodcll&. Gla~ure de diverses
couleurs.
H. 6  mm-Colleajiov Schiller.
2. Brile-encens. Porcelaine model&e. Gla~ure de diverses couleurs. Cet
objet et la holte precedente font partie d'une garniture de table 'a &'rire.
H. (sans anses) 75 mm.
Colleelion Oppenheim.
i. Wei'hrauchschachtel, modellierter Deckel aus Porzellan, farbige Glasuren.
L. 64 mm.
Sammiung Schiller.
2. Weihrauchlampe aus modelliertem Porzellan mit farbigen Glasuren. Die
Lampe und die oben erwAhnte Schachtel gehoren zu cinem Satz Ausruftungsgegeaftande eines Schreibfisches.
H. (ohne Henkel) 75 mm.
Sammiung Oppenheimn.




k
A
I
01-4
lo
NV












LIX
Vase with lang-yao glaze passing from cherry red to ox blood colour.
K'ang Hsi period. H. 4 5'.
Schiller Colledion
Potiche a couvcrte " Lang-yao" allant du rouge cerise au sang de bcuf.
Pdriode K'ang-hi. H. 114 mm.
Collelion Schiller.
Vase mit " lang-yao" Glasur. Farbe von kirschrot zu Ochsenblut ibergehend.


K'ang Hsi Periode. H. 114 mm.


Sammlung Schiller




( i.r












LX
I. Vase with " apple-green" glaze, a ftone-grey crackle with a coating of
transparent emerald green, which is faintly luftrous.
Early eighteenth century. H. 5'5".
2. Brush bath with peach-bloom glaze, with green and brown spots.
K'ang Hsi period mark. D. 4-6".
Hadden ColkLion.
x. Potiche.  Glafure vert pomme, craquelure gris-pierre.  Couverte vertimeraude transparent peu luftri.
Dcbut du 18S s. H. 140 mm.
2. Bac I pinceaux. Glasure peau de p6che I taches vertes ct brunes.
Marque de la p6riode K'ang-hi. D. Ix7 mm.
Collchlion Hadden.
x. Vase mit apfelgriner Glasur, fteingraue Risse mit einem durchsichtigen
smaragdgrinen, leicht glanzenden Uberzug.
Friihes i8. Jahrhundert. H. I40 mm.
2. Pinselnapf, pfirsichfarbene Glasur, grun und blau gefleckt.
Zeichen der K'ang Hsi Periode. D. 117 mm.
Sammlung Hadden.




.,    I
I,Om.'
J I. -
0!,      7
k          I.1.
-f


1. -.4 
v".












LXI
Vase with mirror black glaze, with brown rcflcdtions.
K'ang Hsi period. H. 7".
C. P. Allen Colkleion.
Potiche. Glaure noire miroitante a reflets bruns.
Pcriodc K'ang-hi. H. 178 mm.
Colleiion C. P. Allen.
Vase mit schwarz spiegelnder Glasur und braunen Reflexen.
K'ang Hsi Periode. H. 178 mm.
Sammlung C. P. Allen.




I
I












LXII
z. Vase in dead white glassy porcelain painted in enamel colours in the ftyle
of Ku Yiieh-hsiian.
Ch'icn Lung mark. H. 3 5".
David Collection.
2. Bowl of fine porcelain of ivory tone, delicately painted in mixed enamels
in the ftyle of Ku Yiieh-hsiian.
Ch'ien Lung mark. D. 5W.
A. T Warre Colleclion.
i. Potiche. Porcelaine vitreuse blanc mat. Peintures couleurs d'6mail dans
le ftyle du Kou Yue-hiuen.
Marque Kien Long. H. 89 mm.
Colledaion P David.
2. Bol. Fine porcelaine ivoire delicatement peinte d'emaux divers dans le
ftylc de Kou Yue-hsuen.
Marque K'ien-long nien-tche. D. 139 mm.
Colleclion Warre.
I. Vase aus ftumpfem, weissem glasartigem Porzellan in Emaillefarben
bemalt, im Stile des Ku Yueh-hsiian.
Ch'ien Lung Zeichen. H. 89 mm.
Sammlung David.
2. Schale aus feinem  clfenbeinfarbenen Porzellan mit zierlicher Emaillemalerei dekoricrt im Stile des Ku Yueh-hsiian.
Ch'ien Lung Zeichen. D. 139 mm.
Sammlung Warre.




i.1
I                               -— poo


Im
(?~












LXIII


Detail from Paradise of Bhaishajya-Guru.
Ninth century. H. (of detail) x5".
Peinture. DEtail du paradis de Bhaishajyaguru.
9e s. H. (du dEtail) 381 mm.
Detail aus dem Paradicse des Bhaishajya-guru.
9. Jahrhundert. H. (des Details) 381 mm.


British Museum.
British Museum.


Britisches Museum.




II


r-      I
i PI
I 114..












LXIV
Avalokitosvara.
Ninth century. 4/ 8# x I' 10o.
British Museum.
Pcinture. Avalokitevara.
9e. x42 x 56 cm.
British Museum.
Avalokitosvara.
9. Jahrhundert. 142 x 56 cm.
Britisches Museum.




i
e.


I      **
f,,
1411,


7
f        I- i
i












LXV
Ucchushma.
Ninth century. 2' 7# x it.
British Museum.
Peinture. Ucchushma, le Tueur de D6nons.
9 s. 79 x 30 cm.
British Museum.
Ucchushma.
9. Jahrhundert. 79 x 30 cm.
Britisches Museum.




vwjp,%,  L.~        r       - -- )
dw    jw


i


4w:


4,
VC
's


IC, I.


4&r




I
I
i..4












LXVI
The Ch'ang Lo Palace, after Li Ssl-hsfin.
12 25" x o.
British Museum.
Peinture. Le Palais Ch'ang Lo, d'apr6s Li Sseu-hun.
310 x 254 mm.
British Museum.
Der Ch'ang Lo Palaft nach Li Ssd-hsun.
310o X 254 mm.


Britisehes Museum.




9" f1~.


I.;
-0 ..


IC


-


I1,*;Sj
II


at I


IT v.1
i
p %oI.     *!,                 I
Ao - 1:11
O.f                 'j,   I
I    I
I


I'll


- A,, r.4-   c. 4
A. C


0;ff —,


IPFO-O-F —, 'I,I I,,VP  -, t  e..40
e 1,. -    I*L
Ir  a'  -












LXVII
Lady Feng and the Bear. After a Sung design.
I' 82" X 2' 11".
British Museum.
Peinture. La Dame Feng et l'Ours. D'aprts un dessin des Song.
52 x 89 cm.
British Museum.
Lady Feng und der Bar, nach einer Sung Zeichnung.
52 x 89 cm.
Brhisches Museum.




pw - -4p


Ob.&41
to
N        Al.   I.0
li
I


 e


I


111)
Ljl



I
-k6
k,
L %a-,












LXVIII
Bird on bough.
Attributed to Wang Jo-shiin. i' 7t x I' ij.
British Museum.
Peinture. Oiseau sur une branche.
Attribu6 I Wang Jo-chouei. 50 x 34 cm.
British Museum.
*Vogel auf dem Zweige.
Wang Jo-shun zugeschrieben. 50 x 34 cm.
Britisches Museum.




4I


t;4.


-U'
$1 
4%


4c~  ~~
JmA i bYT.


 ar              I
I   i1  A
 it 1.1 I, 4,k


17
- - I


&I


*
  *'

2


I,I.                          IT'.,.     1,
i
I..  J,
j      I,I


11       -.4.,  --, - .'.', O.,;; p. *, U, IW*94.,, "',.. -r
1-,4.ff-, -.-tr,


- - -I-, P..F. 
W., Y...












LXIX
Bronze cauldron or boiler with decorations in relief.
H. o1 25#.
Eumorfopoulos Collc'tion.
Chaudron ou bouilloire en fonte I decoration en relief.
H. 260 mm.
ColleClion Eumoifopoldos.
Bronzekessel mit Reliefverzierungen.
H. 260 mm.
Sammlung Eumorfopoulos.
















LXX
Bronze-covered vessel in the form of an owl.?Chou dynafty. H. 8 25N
Eumorlopuloi ColeAion.
RMipient en forme de hibou, recouvert de bronze.
Tcheou(?). H. 210 mm.
Colle6Jion Eumorloposdos.
Eulenforrmiger, mit Bronze uiberzogener Behalter.
Chou Dynaftie () H. 210 mm.
Sammiung Eumorfopoulos.




I


Jr


Immi -
"A
.00.03,                1
4i
I, % i
I
or


w,lb           - 0
kp-. v
I


I.












LXXI
Bronze-covered pail for sacrificial wine; decorations in relief.
Chou dynafty. H. 13N.
Eumortopoulos Colklecion.
Vase A libations recouvert de bronze. D&oration en relief.
Tcheou. H. 330 mm.
Collellion Eumortopoudos.
Mit Bronze uiberzogener Eimer fur den Opferwein, Vcrzierungen in Relief.
Chou Dynaftie. H. 330 mm.
Sammlung Eumorfopoulos.




I
I -%..I
mm       -
4                                                            '15 -'f_0I
lw
-0
I
'I                                I












LXXII
Bronze clapperless bell.
Chou or Han dynafty. H. 12.25.
Eumorlopoulos Colke~ion.
Cloche de bronze sans battant.
Tcheou ou Han. H. 311 -mm.
Colle6lion Eumor/opoulos.
Bronzcklingcl ohne Klo"pfel.
Chou oder Han Dynaibc. H. 311 Imm.
Sammiung Eumorfopoulos.




IMM

i,
II












LXXIII
Bronze cover of a lady's toilet-box decorated with painted designs of the
T'ang period.
D. 6 5.
Eumorfopoulos Collelion.
Couvercle en bronze d'un n&essaire de toilette de femme.
Motifs peints des T'ang. D. x65 mm.
Colledion Eumorfopoulas.
Bronzedeckel der Toilettenschachtcl cincr Dame, vcrzicrt mit gemalten
Muftern der T'ang Pcriodc.
D. 165 mm.
Sammlung Eumorfopoulos.




i


Y  4


-1      I..           -le
1%     %%,
I:11
— l












LXXIV


Bronze mirror-back with designs in low relief.
T'ang dynafty. D. 8 75".
Dos de miroir en bronze dcord de bas-reliefs.
T'ang. D. 222 mm.


Eumorfopoulos Colletion.
Collcalion Eumorfopoulos.


Bronzeriicken eines Spiegels, mit Zcichnungcn in niedrigem Relief.
T'ang Dynaftie. D. 222 mm.
Sammlung Eumorfopoulos.




14












LXXV
Figure of a courtier in translucent jade.
T'ang dynafty. H. ix I.A
Eumorfopoudos Colkclion.
Statuette. Courtisan. Jade translucide.
T'ang. H. 280 mm.
ColleAion Eumorfopoulos.
Figur eines Hofmannes in durchsichtiger Jade.
T'ang Dynaftic. H. 280 mm.
Sammlung Eumorfopoulo:.




A,""I
rL
/,>.I












LXXVI
i. Rc~1angular vessel in opaque jade.
Probably Chou dynafty. H. 2"   L. 3 825"
Pope-Hennessy Colicaeton.
2. Badge of rank in opaque jade.
Probably Chou dynafty. H. 2
Eumorlopoulos Colleition.
i. Recipient reflangulaire en jade opaque.
Attribu6 aux Tchcou. H. 508 mm. L. 820 mm.
Colleefion Pope-Hennessy.
2. Insigne de grade en jade opaque.
Attribu6 aux Tcheou.  H. 6o8 mm.
Colletlion Eumorfopoulos.
i. Rechteckiger Behalter aus undurchsichtiger Jade.
Wahrscheinlich Chou Dynaftic. H. 508 mm. L. 82o mm.
Sammiung Pope-Hennessy.
2. Rangabzcichen aus undurchsichtiger Jade.
Wahrscheinlich Chou Dynaffie. H. 6o8 mm.
Sammiung Eumorfopoulos.




"001         In ".
\    5. f,,   (,
A
a  i    14  1 "
L 10 I   \\,\
SON  '144  I
i,. 'N.: I\\..11:.Ao













LXXVII
x. Bracelet of opaque jade.
Probably Chou dynaty- D. 4 5.
Eumorfopoulos Collecion.
2. Ring of jade for ceremonial purposes.
Probably Chou dynafty. D. 57-o.
Eumorfopoulos Collection.
I. Bracelet de lde opaque.
Attribue aux Tcheou.  D. 114 mm.
Collelion Eumorfopoulos.
2. Anneau de jade pour cCermonies.
Attribue aux Tcheou.  D. 130 mm.
Colleaion Eumorfopoulos.
x Armband aus undurchsichtiger Jade.
Wahrscheinlich Chou Dynafie. D. 114 mm.
Sammlung Eumorfopoulos.
2. Ring aus Jade fur Ceremonialzwecke.
Wahrscheinlich Chou Dynatie. D. 130 mm.
Sammlung Eumorfopoulos.




4
thiLf


A


\ A


V












LXXVIII


Jade sacrificial vessel in the form of a toad.
Possibly Hsia or Shang dynasty. H. 5 75"
Vase de sacrifice. lade en forme de crapaud.
Probablement Hia ou Chang. H. 146 mm.


Pope-Hennessy Colleson.
Collelion Pope-Hennessy.


Opfergcfass aus Jade in der Form eincr Krote.
Moglicherweise Hsia oder Shang Dynaftic. H. i46 mm.
Sammlung Pope-Hennessy.




6F


I


7t,   I:11      4'j


11 - 7!,.- di.  i     I;    k           1
36,0          t     it -6. it
kre'. -, -.-. "


~,A


I
 14,


rie4














LXXIX
Ceremonial Axe in semi-translucent jade.
Han dynafty. H. 6rm'.
Eumorfopoulos Collkion.
Hachc dc cdrdmonic. Jade semi-transparent.
Han. H. 163 mm.
ColledTion Eumorfopoulos.
Opferbeil aus halb durchsichtiger Jade.
Han Dynaftie. H. I63 mm.
Sammlung Eumorfopoulos.






1 7;
*,o,
I,
f,
i -;. 7", 1.
"'   Ir
AAS.,,;t!, -. 1111-4-7   " -,


i


F,61,p
a tj '*,
4if












LXXX
Dish in translucent green jade.
T'ang dynafty-  D. o0".
Tan  dynay..                         Alexander CollekRion.
Plat en jade vert transparent.
T'ang. D. 266 mm.
Colletlion Alexander.
Schalc aus durchsichtigcr gruncr jade.
T'anov Dynamtic. D. 25 o6 cm.
Sammliung Alexander




K


r. - 11 I,;, A., -Z. II Ni
I.


II


I       .., w    -   I
I
-tkj.1;6
4              I.,S.
i    & — -.              i*.
     -.Adsr4p%-.    --












LXXXI


Vase in translucent jade.
Sung dynafty. H. 3W.
Vase de jade transparent.
Song. H. 92 mm.
Vase aus durchsichtiger Jade.
Sung Dynastic. H. 92 mm.


Malcolm Colleclion.


Collelion Maklolm.


Sammlung Malcolm.




', Of,., -4
I J.
- 'fil --
I " '.;.  4  t.A I,
%jr,. %
I
- I
ot.01
11
I.,- A.











LXXXII
Brush-pot in jadeite.
Possibly Yian dynafty. H. 31,4.
Porte-pinccaux en jadkite.
Yuan (?). H. 97 mm.
Pinselnapf aus Jadeit.
Moglichcrweise Yiian Dynaftie. H. 97 mm.


Collie Collettion.


Colletion Collie.


Sammlung Collie.




I., -,r
- 74%.Z.&
Ik's.;O.


-4-4 -I
It












LXXXIII
Imperial table for a marri;age ceremony. Carved rc(l lacquer cut through to a
)but ground.
Nling l(ynast) (Wi.n Li). II. 2' () 75"  Top 2' 9 25" x 3 ' n"
Spink and Son, Ltd.
Table imperialc pour c6lebration de mariage. Laque rouge sculpt&c, ajouree
sur fond chamois.
Ming (Wan Li). ]i. 781 mm. I)essus 844 x 1,194 mnm.
Socirtc Spink and Son.
Kaiscrlicher Tisch  fur Hochzeitsriten, geschnitzte rote Lackarbeit auf
hrauncm Untergrund.
Ming lDyna.tic (Wan Li). IH. 781 mm. Tischplatte 844 x I,I94 mm.
Spink tfnd Sohn, 4.G




0
I
11
6-, I -.r
I            f"
I.  I
I.
v
11
0












LXXXIV


Bowl of woven bamboo with central panel in lacquer.
Mling dynasty (Wan Li). D. iii".
Spink and Son, Ltd.
Bol en bamhou tress6. Decoration centrale en laque.
Ming (Wan Li). D. 292 mm.
Socidte Spin/\ and Son


Schale aus gcwobenem Bamltus mit Mlittclstuck in Lackarbcit.
Ming Dynastic (\Wan Li). D. 2(2 mnm.
Spink urnd Sohn, A G.




WI
B,'












LXXXV
Ewer for ceremonial use. Black lacquer on pewter encrufted with shell,
ivory carved red lacquer and lacquer composition.
Ming dynaaty (Wan Li); panels reftored in Ch'ien Lung period. H. '4"'.
Vifioria and Albert Museum
Aigui&e de cirimonie. Laque noire sur 6tain, incruft& d'dcaille, d'ivoire, de
laque rouge sculpt&e et d'un motif de laque.
Ming (Wan Li); panneaux reftaure's pendant la p&iode K'ien-long.
H. 356 mm.
Visaoria and Albert Museum.
Wasserkanne fu'r Opferzwccke. Schwarze Lackarbeit auf Zinn, eingelegt
mit Muscheln, Elfenbein, roter Lackarbeit und Lackkompositionen.
Ming Dynaftic (Wan Li), Mittelihucke reltauriert in der Ch'ien Lung Periode.
H. 356 mm.
Vidloria und Albert Museum.




PI












LXXXVI


Cover of a bowl in carved brown lacquer with circle of gold.
Ming dynaity (late). D. io".
Viaoria and Albert Museum.


Couvercle de bol. Laque brune sculpt&e, ccrclec d'or.
Fin des Ming. D. 254 mm.
Viloria and Albert Museum.


Deckel einer Schale aus geschnitzter brauncr Lackarbeit mit Goldrand.
Spate Ming Dynaftie. D. 254 mm.
Vidoria und Albert Museum.




0
L
I
tl
i.,
I












LXXXVII


Incene-burner in lacquer with carved jade finial.
Ming dynafty (late). H. 18".
Viatoria and Albert Museum.
Brfle-encens. Laque. Sommet de jade sculpt6e.
Fin des Ming. H. 457 mm.
Viioria and Albert Museum.


Weihrauchlampe aus Lackarbeit mit Kreuzblume aus geschnitzter Jade.
Spate Ming Dynaftie. H. 457 mm.
Vitoria und Albert Museum.




is.A
40:1
pl_I












LXXXVIII


Panel from a 12-fold screen in " Coromandcl " lacquer
Ch'ing dynasty (K'ang Hsi).
Vittoria and Albert Museum.


Panneau d'un paravent ^ I2 feuilles en laque de Coromandel.
Ts'ing (K'ang-hi).
Victoria and Albert Museum.


Panecl aus cinem zwolfteiligen Wandschirm, Koromandel-lackarbeit.
Ch'ing Dynaftie (K'ang Hsi).
Vitaora und 4lbert Museum




F














LXXXIX
Panel from a 4-fold screen in gold, red, and brown lacque encruatcd with
ivory, shell, and hard ftones.
Ch'ing dynafty (K'ang Hsi). H. 3' 2'25. W. i' 9'.
Vieloria and Albert Museum.
Panncau d'un paravent A 4 feuillcs. Laque brune, rouge et or incruitc
d'ivoire, d'caille ct de pierres.


Ts'ing (K'ang-hi). H. 97 cm. L. 54 cm.


Viloria and Albert Museum.


Paneel aus cinem vicrteiligen Wandschirm, gearbeitet in goldener, rotcr, und
brauner Lackarbcit, eingelegt mit Elfenbein, Muscheln, und Steinarten.
Ch'ing Dynaftic (K'ang Hsi). H. 97 cm. B. 54 cm.
Viloria und Albert Museum.




t - ' w/  *i


4     A'












xc


Box with cover in carved red lacquer encrufted with jade and other ftoncs.
Ch'ing clynafty (K'ang lisi). H. 7"  W   I5"   L. 14 25"t
Victoria and Albert Museum.
Boite avec couvercle; laque rouge sculptCe avec incruftations de jade et d'autres
picrres.
Tls'ing (K'ang-hi).  H. 178 mm.  L. 381 mm.   L. 362 mm.
Viloria and Albert Museum
Schachtel mit Deckel in roter geschnitztcr Lackarbeit, eingelegt mit Jade und
andcrcn H.llbcdclt, incn.
Ch'ing I)ynaqie (K'ang Hsi). H. 178 mm. B. 381 mm. L. 362 mm.
Victoria und Albert Museum.




>1. a


Vs
lk
6h Vu 1406N


m0z". "












XCI
Throne of the Emperor Ch'ien Lung. Carved red lacquer cut through to.
inner layers of olive green, brown, and yellow
Ch'ing dynasty. H. 3' ii". L. 4' i."  W. 3'
ViCtoria and Albert Museum.
Tr6ne de 1'Empereur K'ien-long.  Laque rouge sculptec, ajour6e sur verto!ive, brun ct jaune.
Ts'ing. H. i m. 194 mm. L. 1 m. 257 mm. L. 760 mm.
Vifloria and Albert Museum.
Thron des Kaisers Ch'ien Lung. Gcschnitzte rote Lackarbeit auf unterlegten
Lagen von olivgrun, braun, und gelb.
Ch'ing Dynastic. H. i m. 194 cm. L. 1. m. 257 cm. B. 760 mm.
Vitoria und Albert Museum.




.0-           -. 4"..,
7 ";XO-4;- - 'wo, -, -...
,-,A "- '
P-M,,a-..C-,3
4
I


Ir 36' It!!! " A V 10
4011*Aq












XCII
Vase from the Summer Palace. Carved red lacquer with engraved gilt
mount.
Ch'ing dynafty (Ch'ien Lung). H. 37-5".
Vifloria and Albert Museum.
Vase provenant du Palais d'Et6. Laque rouge sculptC& A monture grav& et
dort&.
Ts'ing (K'ien-long). H. 952 mm.
Viforia and Albert Museum.
Vase aus dem Sommerpalaft, geschnitzte rote Lackarbeit, mit vcrgoldetem
geftochenem Beschlag.
Ch'ing Dynaftie (Ch'ien Lung). H. 952 mm.
Vittoria und Albert Museum.




N.l
I.POO- -,












XCIII
Panel in carved red lacquer cncrufted with jade, malachite, and imitation
lapis lazuli.
Ch'ing dynasty (Ch'icLi Lung). H. 2/ 6 75"  W  3' 7"
9   Victoria and Albert Museum.
Panneau laquc rouge sculptec incruftc& de jade, de malachite et de faux
lapis-lazuli.
Ts'ing (K'lcn-long). H. 781 mm. L. i m. 092 mm.
Vidoria and Albert Museum.
Paneel aus rotcr gcschnitzter Lackarbeit, eingelegt mit Jade, Malachit, und
imiticrtem Lapis Lazuli.
Ch'ing DynaStic Ch'icn Lung). H. 78I mm. B. I m. 092 cm.
V6toria und 41bert Museum




'I


LI t'.


0I"


I~' I


'












XCIV
Imperial ftand for fruit and flowers in carved red lacquer -.with under layrs
of green and buff.
Ch'ing dynafty (Ch'icn Lung). H. 36 5"'.
Spink and Son, td.
Support imperial pour fruits et flcurs. Laque rouge sculpt6c avec ajourage
sur vert ct chamois.
Ts'ing (K'ien-long). H. 927 mm.
Socit Spink and Soo.
Kaiserlicher Stinder fur Obft und Blumcn aus geschnitzter roter Lackarbeit
mit unterlegten Lagen von grun und braun.
Ch'ing Dynaftic (Ch'icn Lung). H. 927 mm.
Spink und Sohn, A.G,




I


I i


momolb- ct-. $












xCV
Panel in carved lacquer.
Ch'ing dynaay (Ch'ien Lung). H. 5' 3w. W. 3' 2~.
Spinl( and Son, Ltd.
Panneau de laque sculpotc.
Ts'ing (K'ien-long). H. I m. 600o mm. L. 965 mm.
SociCt Spink and Son.
Paneecl in geschnitzter Lackarbeit.
Ch'ing Dynaftie (Ch'icn Lung). H. i m. 600 mm. B. 965 mm.
Spink und Sohn, A.G.




LR.'
I
I
0












XCVI
Vase, one of a pair, in carved red lacquer cut through to green and buff.
Ch'ing dynafty (Ch'icn Lung). H. 15i".
Viiloria and Albert fuseum.
Potiche. Laque rouge sculpt&e ajour&e sur vert et chamois.
Ts'ing (K'ien-long). H. 397 mm.
Victoria and Albert Museum.
Vase, cine aus cinem Paar, in roter geschnitzter Lackarbeit auf gruner und
brauner Unterlage.
Ch'ing Dynaftie (Ch'ien Lung). H. 397 mm.
Vidtoria und Albert Museum.




PM












XCVII
Stand of picnic set in lacquer.
Ch'ilg dynasty (Ch'icn Lunlg). D. 87".
Spink and Son. Ltd.
Socle d'un coffre de table portatif, cn laIllJc.
Ts'ing (K'lcn-long). D. 228 mm.
Socicte Spink and Son
Stinder eines Picknicksets in Lackarbcit.
Ch'ing Dynaftie (Ch'ien Lung). D. 228 mm.
Spink und Sohn, A.G.




if!'












XCVIII
Neft of sweetmeat-dishes in blue lacquer decorated with gold.
Ch'ing dynafty (Ch'icn Lung). D. 13 75"a.
Victorta and Albert M1useum.
Jeu de plats & friandises. Laque bleue. Decoration or.
Ts'ing (K'ien-long). D. 350 mm.
Victoria and Albert Museum.
Satz Konfitiirenschalen in blauer Lackarbeit, verziert mit Gold.
Ch'ing Dynafic (Ch'ien Lung). D. 350 mm.
Victoria und Albert Museum.




LL
I.;.....












XCIX
Wool carpet, with knots of Sehna type 35 to the square inch, on cotton warp
and weft.
Lace eighteenth century. II' 8f x 8' 4^.
Vialora and Albert Museum.
Tapis de laine. Nceuds du genre Sehna, Environ 60 au dmq. Tramc et
chatne de coton.
Fin du 18' s. 35'6 cm.x 254 cm.
Viforia and Albert Museum.
Wollener Tcppich, Sehna Geflecht 35 auf den Quadratzoll, gearbeitet auf
Baumwolleinschuss.
Ende x8. Jahrhundert. 35'6 cm. x 25-4 cm.
Vieloria und Albert Museum.




r
kou
iiibm
too,
ol
sv".
tr
O












Wooden Statue of Kuan-yin.
Southern Sung dynafty. H. 48".
Eumorfopoulos Collefion.
Statue de bois dc Kouan-yin.
Song du Sud.  H. I m. 20
Collekion Eumorfopoulos.
HolSartuc Kuan-yin.
Sudlichc Sun Dynartie. H. I m. 20.
Sammling Elumorfopoulos.




II


r,
w.41,


O'.
% -A


64 40
-i
6
10
41. 1


A4'


i OW,    'I   — 4.


rp.0
a
C
L
I


S
1 41
0 4
AL


11 11 -%
I
T,i    I
-%      f       *  It      4 1
I.1  I%
I               I i N
p                  to"
I         Ir
"I,               t




,1k;                                                       -