CHAPTER XVIBLUE UNDER THE GLAZE. NANKIN BLUE
Many collectors are immensely attracted by what is known as the old blue and white. It is such a widely distributed product, extending over a long series of reigns. We noted before that it reached its highest excellence in the Kang-he period. It was at first reserved for the Court, for Emperors and high dignitaries, but since Kang-he's reign blue and white may be said to belong to all dates, and the blue and white ginger jars of the present time which may be bought for one or two guineas show how the demand has been a constant one throughout the whole of the time. At a very early period after the Dutch had imported this blue and white from China their potters set about imitating it and produced the fine old blue and white delft which is now valuable, but there is no specimen of delft which reaches anything like the price of the old Chinese blue and white from which it was copied. The honorific inscriptions, the sacred emblems, the immortals and their attendants were quite meaningless to the mind of the Dutch potter, just as they were to the Italian, who was also an Oriental copyist. To the Oriental the decoration of each piece meant something, something it may be of their history or of their religion. High thoughtswere set out as inscriptions, and inspirations were given by the story on the vase or dish, which when represented on a European copy became only a scheme of decoration, or at its best a germ from which an original scheme of native work might have its birth. So the Dutch, though they at first made delft ware in servile imitation of Chinese patterns, soon saw their way to utilise purely Dutch designs and with these to produce work as fine as that which they had made under the inspiration of the Chinese model.
At King-te-chin, the classical home of porcelain, a city with 3,000 kilns, the best of the blue and white was made; and although there is a large class called Nankin blue which must not be neglected, the latter, in decoration, is immensely inferior to the products of the Imperial factories. It is quite certain that there were many other factories besides those at King-te-chin which produced porcelain, but history leaves few records of them, so that it would be quite fair to include Nankin blue as a product of King-te-chin perhaps decorated at Nankin. It is quite interesting to note how at first this blue and white, now so valued, was not esteemed by Europeans with the exception of the Dutch. Much of it was redecorated on the glaze and the pattern burnt in so as to hide the decoration.
BLUE AND WHITE.(a) A pair of tall blue and white trumpet-shaped Beakers. Under the neck are four shield-shaped panels connected with an arabesque design; below this is a broad band ornamented with conventional flowers running round the body. Towards the feet are the stiff leaves of the sweet-flag running down to the base. The whole done in a liquid, translucent blue on a most beautiful white ground. Kang-he period. The sweet-flag is often used for the decoration of porcelain vases, &c., and because its leaves are long and slender and come to a point the Chinese use them to represent swords, which, indeed, they resemble in general shape. On the morning of the first day of the fifth month every family nails up a few leaves of this plant on each side of the doors and windows of the house, so that when the evil spirits come near, they see the leaves, which they mistake for swords, and are thus frightened off. The superstitions of the people as well as their religion are put under obligation to furnish designs for the potter, in which the same idea is represented in a permanent form. In fact, only when we are fully cognisant of Chinese mythology shall we fully appreciate the wonderful stories set out in their porcelain. When will the Chinese connoisseur place before us his stores of knowledge?(b) A pair of Butter Dishes and Covers in fine quality blue and white. The dishes and lids have the four seasons design, which are separated with a trellis-work diaper pattern. Note the difference between the two diaper patterns. The handles are coming from the mouth of a monster. Kang-he period.
BLUE AND WHITE.
(a) A pair of tall blue and white trumpet-shaped Beakers. Under the neck are four shield-shaped panels connected with an arabesque design; below this is a broad band ornamented with conventional flowers running round the body. Towards the feet are the stiff leaves of the sweet-flag running down to the base. The whole done in a liquid, translucent blue on a most beautiful white ground. Kang-he period. The sweet-flag is often used for the decoration of porcelain vases, &c., and because its leaves are long and slender and come to a point the Chinese use them to represent swords, which, indeed, they resemble in general shape. On the morning of the first day of the fifth month every family nails up a few leaves of this plant on each side of the doors and windows of the house, so that when the evil spirits come near, they see the leaves, which they mistake for swords, and are thus frightened off. The superstitions of the people as well as their religion are put under obligation to furnish designs for the potter, in which the same idea is represented in a permanent form. In fact, only when we are fully cognisant of Chinese mythology shall we fully appreciate the wonderful stories set out in their porcelain. When will the Chinese connoisseur place before us his stores of knowledge?(b) A pair of Butter Dishes and Covers in fine quality blue and white. The dishes and lids have the four seasons design, which are separated with a trellis-work diaper pattern. Note the difference between the two diaper patterns. The handles are coming from the mouth of a monster. Kang-he period.
(a) A pair of tall blue and white trumpet-shaped Beakers. Under the neck are four shield-shaped panels connected with an arabesque design; below this is a broad band ornamented with conventional flowers running round the body. Towards the feet are the stiff leaves of the sweet-flag running down to the base. The whole done in a liquid, translucent blue on a most beautiful white ground. Kang-he period. The sweet-flag is often used for the decoration of porcelain vases, &c., and because its leaves are long and slender and come to a point the Chinese use them to represent swords, which, indeed, they resemble in general shape. On the morning of the first day of the fifth month every family nails up a few leaves of this plant on each side of the doors and windows of the house, so that when the evil spirits come near, they see the leaves, which they mistake for swords, and are thus frightened off. The superstitions of the people as well as their religion are put under obligation to furnish designs for the potter, in which the same idea is represented in a permanent form. In fact, only when we are fully cognisant of Chinese mythology shall we fully appreciate the wonderful stories set out in their porcelain. When will the Chinese connoisseur place before us his stores of knowledge?
(b) A pair of Butter Dishes and Covers in fine quality blue and white. The dishes and lids have the four seasons design, which are separated with a trellis-work diaper pattern. Note the difference between the two diaper patterns. The handles are coming from the mouth of a monster. Kang-he period.
BLUE AND WHITE.(a) A fine quality blue and white Beaker vase with expanding neck and bulging body. The neck is ornamented with blue bands and flowers; the body divided into four panels and filled in alternately with domestic utensils, flowers, and foliage. Kang-he.(b) A blue and white Water-ewer and Cover, of fine quality and elegant shape, decorated with "Lange-Lysen," domestic utensils, and landscapes. Seal mark, "Ching-Hwa." Kang-he period.Blue was employed for under-glaze decoration amongst the Chinese from time immemorial, though scarcely a specimen earlier than the Ming period can be identified with certainty, owing to the copying and recopying that has been continually practised by the Chinese. True, we often see the Ming marks, say of Ching-hwa or Kea-tsing, but probably the best of them are of Kang-he origin. Even if the pieces are really old they will be often found re-decorated with modern colours. Perhaps amongst the blue and white of the Ming period, those pieces decorated with the soft but rich "Mohammedan" blue, as it is called, are the best. Yet, though the colour is never flat or dead, there are certain qualities missing which are quite charming in the later Kang-he. The gradation and modulation of the blue, indeed, even the quality of the blue itself, are all better in the later pieces. Whether, again, the fine Kang-he blue was made early or late in the period, lasting from 1662-1722, is a further matter of doubt. Our readers will remember that in 1677 and for some years after no date marks were allowed to be inscribed, so that only patient study and careful observation will enable any one to place the old blue and white.
BLUE AND WHITE.
(a) A fine quality blue and white Beaker vase with expanding neck and bulging body. The neck is ornamented with blue bands and flowers; the body divided into four panels and filled in alternately with domestic utensils, flowers, and foliage. Kang-he.(b) A blue and white Water-ewer and Cover, of fine quality and elegant shape, decorated with "Lange-Lysen," domestic utensils, and landscapes. Seal mark, "Ching-Hwa." Kang-he period.Blue was employed for under-glaze decoration amongst the Chinese from time immemorial, though scarcely a specimen earlier than the Ming period can be identified with certainty, owing to the copying and recopying that has been continually practised by the Chinese. True, we often see the Ming marks, say of Ching-hwa or Kea-tsing, but probably the best of them are of Kang-he origin. Even if the pieces are really old they will be often found re-decorated with modern colours. Perhaps amongst the blue and white of the Ming period, those pieces decorated with the soft but rich "Mohammedan" blue, as it is called, are the best. Yet, though the colour is never flat or dead, there are certain qualities missing which are quite charming in the later Kang-he. The gradation and modulation of the blue, indeed, even the quality of the blue itself, are all better in the later pieces. Whether, again, the fine Kang-he blue was made early or late in the period, lasting from 1662-1722, is a further matter of doubt. Our readers will remember that in 1677 and for some years after no date marks were allowed to be inscribed, so that only patient study and careful observation will enable any one to place the old blue and white.
(a) A fine quality blue and white Beaker vase with expanding neck and bulging body. The neck is ornamented with blue bands and flowers; the body divided into four panels and filled in alternately with domestic utensils, flowers, and foliage. Kang-he.
(b) A blue and white Water-ewer and Cover, of fine quality and elegant shape, decorated with "Lange-Lysen," domestic utensils, and landscapes. Seal mark, "Ching-Hwa." Kang-he period.
Blue was employed for under-glaze decoration amongst the Chinese from time immemorial, though scarcely a specimen earlier than the Ming period can be identified with certainty, owing to the copying and recopying that has been continually practised by the Chinese. True, we often see the Ming marks, say of Ching-hwa or Kea-tsing, but probably the best of them are of Kang-he origin. Even if the pieces are really old they will be often found re-decorated with modern colours. Perhaps amongst the blue and white of the Ming period, those pieces decorated with the soft but rich "Mohammedan" blue, as it is called, are the best. Yet, though the colour is never flat or dead, there are certain qualities missing which are quite charming in the later Kang-he. The gradation and modulation of the blue, indeed, even the quality of the blue itself, are all better in the later pieces. Whether, again, the fine Kang-he blue was made early or late in the period, lasting from 1662-1722, is a further matter of doubt. Our readers will remember that in 1677 and for some years after no date marks were allowed to be inscribed, so that only patient study and careful observation will enable any one to place the old blue and white.
BLUE AND WHITE.These specimens of blue and white Vases answer the tests which are applied to the best porcelain decorated with different designs of flowers, trees, birds, &c., in blue, painted under the glaze. What are the tests? First, the material forming the paste or body must be so fine as to give a perfect surface. The surface must be a brilliant white when covered by the glaze. The drawing and painting should reveal the best qualities of cobalt blue. The shape of the piece must leave nothing to be required. Now, it is well known that blue and white was, and is, the most common of all Oriental porcelain, and modern work is good, so that it becomes quite easy to make mistakes; in fact, it would not be too much to say that old blue and white is most difficult to judge. Though the glaze is so much a part of the paste that it lasts practically for ever, yet it does get slightly dulled; the extreme brilliancy of the new pieces contrasts with the softer and more beautiful old porcelain. The glaze should not be too thick, for the fine, even quality of the paste is just as much an element as the glaze in giving the old lustre. The blue decoration under the glaze shows a perfect command of outline as well as colour. There is no soaking in of the colour, but the outline is applied by the brush with absolute equality.The two specimen vases show "Lange-Lysen" or "Long Elizas" and flowers in fluted lotus-shaped medallions covering the whole surface, except under the lip and neck, where there are two bands of triangle-work diaper pattern. The mounts are in French ormolu, Louis XVI. Kang-he period.
BLUE AND WHITE.
These specimens of blue and white Vases answer the tests which are applied to the best porcelain decorated with different designs of flowers, trees, birds, &c., in blue, painted under the glaze. What are the tests? First, the material forming the paste or body must be so fine as to give a perfect surface. The surface must be a brilliant white when covered by the glaze. The drawing and painting should reveal the best qualities of cobalt blue. The shape of the piece must leave nothing to be required. Now, it is well known that blue and white was, and is, the most common of all Oriental porcelain, and modern work is good, so that it becomes quite easy to make mistakes; in fact, it would not be too much to say that old blue and white is most difficult to judge. Though the glaze is so much a part of the paste that it lasts practically for ever, yet it does get slightly dulled; the extreme brilliancy of the new pieces contrasts with the softer and more beautiful old porcelain. The glaze should not be too thick, for the fine, even quality of the paste is just as much an element as the glaze in giving the old lustre. The blue decoration under the glaze shows a perfect command of outline as well as colour. There is no soaking in of the colour, but the outline is applied by the brush with absolute equality.The two specimen vases show "Lange-Lysen" or "Long Elizas" and flowers in fluted lotus-shaped medallions covering the whole surface, except under the lip and neck, where there are two bands of triangle-work diaper pattern. The mounts are in French ormolu, Louis XVI. Kang-he period.
These specimens of blue and white Vases answer the tests which are applied to the best porcelain decorated with different designs of flowers, trees, birds, &c., in blue, painted under the glaze. What are the tests? First, the material forming the paste or body must be so fine as to give a perfect surface. The surface must be a brilliant white when covered by the glaze. The drawing and painting should reveal the best qualities of cobalt blue. The shape of the piece must leave nothing to be required. Now, it is well known that blue and white was, and is, the most common of all Oriental porcelain, and modern work is good, so that it becomes quite easy to make mistakes; in fact, it would not be too much to say that old blue and white is most difficult to judge. Though the glaze is so much a part of the paste that it lasts practically for ever, yet it does get slightly dulled; the extreme brilliancy of the new pieces contrasts with the softer and more beautiful old porcelain. The glaze should not be too thick, for the fine, even quality of the paste is just as much an element as the glaze in giving the old lustre. The blue decoration under the glaze shows a perfect command of outline as well as colour. There is no soaking in of the colour, but the outline is applied by the brush with absolute equality.
The two specimen vases show "Lange-Lysen" or "Long Elizas" and flowers in fluted lotus-shaped medallions covering the whole surface, except under the lip and neck, where there are two bands of triangle-work diaper pattern. The mounts are in French ormolu, Louis XVI. Kang-he period.
BLUE AND WHITE. GINGER JARS.There are several varieties of prunus (so-called hawthorn) blossom in the well-known blue and white ginger jars. The one given in the illustration has the pattern known as the "ascending stem" hawthorn. Then there is a "descending stem," and a third pattern showing the head or centre of the blooms arranged in groups. This is "blob hawthorn," and may consist of three small blooms around a central larger one, forming, roughly, a triangular group; or four blooms again around a central one, forming a cross-shaped group. This pattern is also known as "spray hawthorn." The ground is a brilliant cobalt, in which the colour is laid on very much as if it had been rubbed on by the thumb, or still more, as if the colour, when wet, had been so rubbed. Afterwards a network of blue lines was added on the blue ground. The suggestion is that the "blob pattern" imitates the fallen prunus blossoms resting upon the crackled ice in the early spring.Our illustration shows a Ginger Jar with dome cover. The body decorated with large and small sprays of white prunus, rising from the base and falling from the shoulder. Very brilliant crackled ice ground of deep cobalt; a narrow band of white encircling the mouth, with a line of blue within, the space between decorated with a formal ornament. The lid with similar decoration to that on the jar, the top encircled with a ring of white. Height, 10 in. Period Kang-he. Value, about £2,000. Record price, 5,900 guineas.
BLUE AND WHITE. GINGER JARS.
There are several varieties of prunus (so-called hawthorn) blossom in the well-known blue and white ginger jars. The one given in the illustration has the pattern known as the "ascending stem" hawthorn. Then there is a "descending stem," and a third pattern showing the head or centre of the blooms arranged in groups. This is "blob hawthorn," and may consist of three small blooms around a central larger one, forming, roughly, a triangular group; or four blooms again around a central one, forming a cross-shaped group. This pattern is also known as "spray hawthorn." The ground is a brilliant cobalt, in which the colour is laid on very much as if it had been rubbed on by the thumb, or still more, as if the colour, when wet, had been so rubbed. Afterwards a network of blue lines was added on the blue ground. The suggestion is that the "blob pattern" imitates the fallen prunus blossoms resting upon the crackled ice in the early spring.Our illustration shows a Ginger Jar with dome cover. The body decorated with large and small sprays of white prunus, rising from the base and falling from the shoulder. Very brilliant crackled ice ground of deep cobalt; a narrow band of white encircling the mouth, with a line of blue within, the space between decorated with a formal ornament. The lid with similar decoration to that on the jar, the top encircled with a ring of white. Height, 10 in. Period Kang-he. Value, about £2,000. Record price, 5,900 guineas.
There are several varieties of prunus (so-called hawthorn) blossom in the well-known blue and white ginger jars. The one given in the illustration has the pattern known as the "ascending stem" hawthorn. Then there is a "descending stem," and a third pattern showing the head or centre of the blooms arranged in groups. This is "blob hawthorn," and may consist of three small blooms around a central larger one, forming, roughly, a triangular group; or four blooms again around a central one, forming a cross-shaped group. This pattern is also known as "spray hawthorn." The ground is a brilliant cobalt, in which the colour is laid on very much as if it had been rubbed on by the thumb, or still more, as if the colour, when wet, had been so rubbed. Afterwards a network of blue lines was added on the blue ground. The suggestion is that the "blob pattern" imitates the fallen prunus blossoms resting upon the crackled ice in the early spring.
Our illustration shows a Ginger Jar with dome cover. The body decorated with large and small sprays of white prunus, rising from the base and falling from the shoulder. Very brilliant crackled ice ground of deep cobalt; a narrow band of white encircling the mouth, with a line of blue within, the space between decorated with a formal ornament. The lid with similar decoration to that on the jar, the top encircled with a ring of white. Height, 10 in. Period Kang-he. Value, about £2,000. Record price, 5,900 guineas.
BLUE AND OTHER COLOURS, UNDER-GLAZE.The finest quality of blue and red painted under the glaze were made during the Tsing dynasty, though during the Ching-hwa period (1465-1488) of the Ming dynasty many good pieces having this decoration must have been manufactured, as the mark of that reign is frequently found in reproductions. Even Kang-he and Yung-ching copies have the Ching-hwa mark.The illustration—a conical Vase with short neck—shows the four-claw dragons of the sky. These are drawn in blue, as far as the head and body are concerned; the scales are in a soft red. The curious forms meant to indicate clouds are in blue, whilst the fireballs are in red. Variations occur where the nebulæ are in red, or even the whole under-glaze may be covered with a bright coral-coloured ground, with the decoration in blue. When this is so the pieces are classified as "coral-red." Again, amongst the various shades of red and brown under the glaze some are found in peach-coloured red. These form a class of "peach ware." Notice the care with which the scales on the dragons are drawn, and even from the photograph the white seems wonderfully pure. Yung-ching period.The dragon decoration sometimes represents thelior dragon of the sea swimming in the water or rising from the waves. It was from such a dragon that Fuh-hi (2852-2738B.C.) learnt and developed the eight diagrams or symbols called the Pa-kwa, which see under "Symbols." The Pa-kwa is used for decoration, usually as a raised design, seldom as a mark. The dragon is never used as a mark.
BLUE AND OTHER COLOURS, UNDER-GLAZE.
The finest quality of blue and red painted under the glaze were made during the Tsing dynasty, though during the Ching-hwa period (1465-1488) of the Ming dynasty many good pieces having this decoration must have been manufactured, as the mark of that reign is frequently found in reproductions. Even Kang-he and Yung-ching copies have the Ching-hwa mark.The illustration—a conical Vase with short neck—shows the four-claw dragons of the sky. These are drawn in blue, as far as the head and body are concerned; the scales are in a soft red. The curious forms meant to indicate clouds are in blue, whilst the fireballs are in red. Variations occur where the nebulæ are in red, or even the whole under-glaze may be covered with a bright coral-coloured ground, with the decoration in blue. When this is so the pieces are classified as "coral-red." Again, amongst the various shades of red and brown under the glaze some are found in peach-coloured red. These form a class of "peach ware." Notice the care with which the scales on the dragons are drawn, and even from the photograph the white seems wonderfully pure. Yung-ching period.The dragon decoration sometimes represents thelior dragon of the sea swimming in the water or rising from the waves. It was from such a dragon that Fuh-hi (2852-2738B.C.) learnt and developed the eight diagrams or symbols called the Pa-kwa, which see under "Symbols." The Pa-kwa is used for decoration, usually as a raised design, seldom as a mark. The dragon is never used as a mark.
The finest quality of blue and red painted under the glaze were made during the Tsing dynasty, though during the Ching-hwa period (1465-1488) of the Ming dynasty many good pieces having this decoration must have been manufactured, as the mark of that reign is frequently found in reproductions. Even Kang-he and Yung-ching copies have the Ching-hwa mark.
The illustration—a conical Vase with short neck—shows the four-claw dragons of the sky. These are drawn in blue, as far as the head and body are concerned; the scales are in a soft red. The curious forms meant to indicate clouds are in blue, whilst the fireballs are in red. Variations occur where the nebulæ are in red, or even the whole under-glaze may be covered with a bright coral-coloured ground, with the decoration in blue. When this is so the pieces are classified as "coral-red." Again, amongst the various shades of red and brown under the glaze some are found in peach-coloured red. These form a class of "peach ware." Notice the care with which the scales on the dragons are drawn, and even from the photograph the white seems wonderfully pure. Yung-ching period.
The dragon decoration sometimes represents thelior dragon of the sea swimming in the water or rising from the waves. It was from such a dragon that Fuh-hi (2852-2738B.C.) learnt and developed the eight diagrams or symbols called the Pa-kwa, which see under "Symbols." The Pa-kwa is used for decoration, usually as a raised design, seldom as a mark. The dragon is never used as a mark.
RED UNDER THE GLAZE.This magnificent, tall, cylindrical Vase is an example of red—rouge de fer—under the glaze, with enamel colours in exquisite harmony applied over the glaze. The merest glance will reveal how artistically the decorator applied his design to the surface at his disposal. Each branch, each leaf, has its value in the scheme of ornamentation. The surface is well covered, but there is no overcrowding. The Vase is of exquisite proportions, decorated on pure white glaze with a bold design of Ho-Ho birds, the plumage ofrouge de fer, green, yellow, and aubergine; one bird is partly hidden by rocks drawn in various greens, aubergine, and blue, whilst springing from the back are large flowering branches of the peony flowers and blossoms. The drawing throughout is of the highest merit. The flowers and boughs are shown in yellow, blue, aubergine, creamy white, and black. Underneath the rocks and on the left of the large bird is a large peony inrouge de ferand foliage in various greens, whilst on the right are two other flowers, one ofrouge de ferand the other of fine stippled yellow with an aubergine centre. The rest of the vase is decorated with a bold design of flowering peach-bloom branches and other large flowers in deeprouge de fer, aubergine, green, and yellow; the neck, which is divided from the body of the vase by a narrow black band, contains peonies and other flowers decorated in colours similar to the remainder of the vase. Period, Kang-he.
RED UNDER THE GLAZE.
This magnificent, tall, cylindrical Vase is an example of red—rouge de fer—under the glaze, with enamel colours in exquisite harmony applied over the glaze. The merest glance will reveal how artistically the decorator applied his design to the surface at his disposal. Each branch, each leaf, has its value in the scheme of ornamentation. The surface is well covered, but there is no overcrowding. The Vase is of exquisite proportions, decorated on pure white glaze with a bold design of Ho-Ho birds, the plumage ofrouge de fer, green, yellow, and aubergine; one bird is partly hidden by rocks drawn in various greens, aubergine, and blue, whilst springing from the back are large flowering branches of the peony flowers and blossoms. The drawing throughout is of the highest merit. The flowers and boughs are shown in yellow, blue, aubergine, creamy white, and black. Underneath the rocks and on the left of the large bird is a large peony inrouge de ferand foliage in various greens, whilst on the right are two other flowers, one ofrouge de ferand the other of fine stippled yellow with an aubergine centre. The rest of the vase is decorated with a bold design of flowering peach-bloom branches and other large flowers in deeprouge de fer, aubergine, green, and yellow; the neck, which is divided from the body of the vase by a narrow black band, contains peonies and other flowers decorated in colours similar to the remainder of the vase. Period, Kang-he.
This magnificent, tall, cylindrical Vase is an example of red—rouge de fer—under the glaze, with enamel colours in exquisite harmony applied over the glaze. The merest glance will reveal how artistically the decorator applied his design to the surface at his disposal. Each branch, each leaf, has its value in the scheme of ornamentation. The surface is well covered, but there is no overcrowding. The Vase is of exquisite proportions, decorated on pure white glaze with a bold design of Ho-Ho birds, the plumage ofrouge de fer, green, yellow, and aubergine; one bird is partly hidden by rocks drawn in various greens, aubergine, and blue, whilst springing from the back are large flowering branches of the peony flowers and blossoms. The drawing throughout is of the highest merit. The flowers and boughs are shown in yellow, blue, aubergine, creamy white, and black. Underneath the rocks and on the left of the large bird is a large peony inrouge de ferand foliage in various greens, whilst on the right are two other flowers, one ofrouge de ferand the other of fine stippled yellow with an aubergine centre. The rest of the vase is decorated with a bold design of flowering peach-bloom branches and other large flowers in deeprouge de fer, aubergine, green, and yellow; the neck, which is divided from the body of the vase by a narrow black band, contains peonies and other flowers decorated in colours similar to the remainder of the vase. Period, Kang-he.