pai tun tzŭ white blocks.
[215] A sixteenth-century work. See p. [2].
[216] Many observers positively assert that the grooved foot rim does not occur on pre-K’ang Hsi porcelain. If this is true, it provides a very useful rule for dating; but the rigid application of these rules of thumb is rarely possible, and we can only regard them as useful but not infallible guides.
[217] Quoted in T’ao lu, bk. viii., fol. 6.
[218] fu ti.
[219] Man hsin.
[220] See T’ao shuo, bk. iii., fol. 7 verso. “Among other things the porcelain with glaze lustrous and thick like massed lard, and which has millet grains rising like chicken skin and displays palm eyes (tsung yen) like orange skin, is prized.” The expression “palm eyes” occurring by itself in other contexts has given rise to conflicting opinions, but its use here, qualified by the comparison with orange peel and in contrast with the granular elevations, points clearly to some sort of depressions or pittings which, being characteristic of the classical porcelain, came to be regarded as beauty spots.
[221] e.g. The P’ing shih, the P’ing hua p’u, and the Chang wu chih, all late Ming works. An extract from the second (quoted in the T’ao lu, bk. ix., p. 4 verso) tells us that “Chang Tê-ch’ien says all who arrange flowers first must choose vases. For summer and autumn you should use porcelain vases. For the hall and large rooms large vases are fitting; for the study, small ones. Avoid circular arrangement and avoid pairs. Prize the porcelain and disdain gold and silver. Esteem pure elegance. The mouth of the vase should be small and the foot thick. Choose these. They stand firm, and do not emit vapours.” Tin linings, we are also told, should be used in winter to prevent the frost cracking the porcelain; and Chang wu chih (quoted ibidem, fol. 6 verso) speaks of very large Lung-ch’üan and Chün ware vases, two or three feet high, as very suitable for putting old prunus boughs in.