Following the white in order is the remarkable series of single colour glazes of various hues, beginning with the sea-green or Celadon, which is a pale green, or even a greyish green; and the yellow, especially the Imperial yellow, which is reserved for the Emperors of the Tsing dynasty; camellia-green like the leaves of that plant, painted in proper colours; light brown, a bright colour with quite a metallic lustre, was known as "_feuille morte_," or dead leaf colour. So copper-reds give various self-colours such as haricot, various _flambés_, and through a long range it reaches eventually a pure black. Then there are the blues, covering a range no less varied and interesting. Turquoise-blue, a tint which can only be obtained by applying it upon the biscuit china which has already passed through the kiln; the other blues, _fouetté_, _soufflé_, _trempé_, are brushed on, blown on, or dipped according to the method used in applying the colour glaze. Another way of applying the glaze was by its being powdered on through a fine gauze or dabbed on by means of a wet swab dipped in the colour which was to be used as the single colour glaze.
[Illustration: "SANG DE BŒUF." SELF-COLOUR.
A tall _sang de bœuf_ fungus-growth, wonderfully true to nature. Yung Ching period. This example bears on the base the mark of Ching-hwa (1465-1488). Round the base and under the feet it is lacquered. The fungus, which grows at the root of trees, when dried, was so durable that it became the symbol of longevity and immortality. Hence large specimens are preserved in the temples, and it is both painted and modelled with figures of the immortals. It may also be found in the mouth of the deer, another emblem of longevity. The example given is in the finest _sang de bœuf_ with all the characteristics of that lovely Celadon colour. This brilliant red was a Kang-he discovery. It is included in the Lang-yao class, being so called after Lang Ting-tso, superintendent of King-te-chin.
The special point to which attention should be given is the lacquered pattern round the base, which is inlaid with pearl shells, in the style known as "_Lac burgauté_." In Chinese porcelain this process is uncommon, but in Japanese porcelain and pottery cloisonné enamel is frequent, applied either with or without the metal cloisons. Lacquer, too, may be frequently found as a coating--black with flowers in gold and silver; black with Ho-Ho birds and flowers; a rich red; brown; green; gold, &c. Nearly all of these pieces are comparatively modern Japanese ware, being made largely at Kioto, Seto, Yashima, Yamato, and other factories in Japan. To this class, which includes porcelain in combination with other substances, must be ascribed those delicate Japanese, egg-shell, covered cups and saucers, painted with flowers in colours, and having an outside covering of the finest basket-work. These are made chiefly at Yamato.]