luan pai; according to the Po wu yao lan. Of three specimens figured in Hsiang's Album (op. cit., pp. 19, 22 and 34), two are described as yü lan (i.e. sky blue), and fên ch'ing (pale blue or green), and the third is undescribed.
[99] Pt. i., fols. 8 and 9.
[100] It is not clear what these markings were, whether spots in the glaze or a kind of crackle. The simile of "crabs' claws" is applied to crackle in other passages.
[102] This interesting list, given in the Chiang hsi t'ung chih, bk. xciii., fol. ii., is summarised in vol. ii., ch. xii. It is also quoted in the T'ao lu, and translated by Bushell, O.C.A., p. 369.
[103] See Bushell, O.C.A., plate 77.
[104] In a passage referring to modern imitations, the T´ao lu (bk. vii., fol. 10) states that "at Ching–tê Chên, the makers of the large vases known as kuan ku (imperial antiques) for the most part imitate the colour of Ju yao glaze. Beautiful specimens of these (imitations) are commonly called 'blue of the sky after rain.'"
[105] P. 39. Account of a mission to Corea in 1125 by Hsü Ching.