[317] These seals are usually difficult to decipher, and the one in question might be read shui shih chü (water and rock dwelling). This would be a matter of small importance did not the signature read by Bushell as wan shih chü occur in the Pierpont Morgan Collection. Other instances in the same collection are chu chü (bamboo retreat), shih chü (rock retreat), and chu shih chü (red rock retreat). The signature chu chü also occurs on a dish in the Dresden collection.
[320] Cat., vol. i., p. [156].
[321] Similar bottles in the Drucker Collection have the “G” mark.
[322] Fang tung yang, “imitating the Eastern Sea” (i.e. Japan).
[323] The first specimens (according to Bushell, O. C. A., p. 309) to reach America came from the collection of the Prince of Yi, whose line was founded by the thirteenth son of the Emperor K’ang Hsi.
[324] The general reader will probably not be much concerned as to whether the peach bloom was produced by oxide of copper or by some other process. Having learnt the outward signs of the glaze, he will take the inner meaning of it for granted. Others, however, will be interested to know that practically all the features of the peach bloom glaze, the pink colour, the green ground and the russet brown spots can be produced by chrome tin fired at a high temperature. I have seen examples of these chrome tin pinks made by Mr. Mott at Doulton’s, which exhibit practically all the peculiarities of the Chinese peach bloom. It does not, of course, follow that the Chinese used the same methods or even had any knowledge of chrome tin. They may have arrived at the same results by entirely different methods, and the peach bloom tints developed on some of the painted underglaze copper reds point to the one which is generally believed to have been used; but the difference between these and the fully developed peach bloom is considerable, and though we have no definite evidence one way or the other, the possibilities of chrome tin cannot be overlooked.
[325] The form of this water pot is known (according to Bushell, O. C. A., p. 318) as the T’ai-po tsun, because it was designed after the traditional shape of the wine jar of Li T’ai-po, the celebrated T’ang poet. In its complete state it has a short neck with slightly spreading mouth.