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	Object Name:	Description:	Period:

41.	Light brown-glazed vase	This small vase has a small mouth, a long and straight neck, two slender tubular handles attached on the lower neck, slanting shoulders, a bulging belly tapering to the bottom, and a splayed, slightly concave base. Except the unglazed bottom rim of the base, the outside and inside of this vase (including the handles) and bottom of the base are glazed in a glossy light brown. Two raised bowstring circles are on the center of the neck. Likewise, two small raised circles enclose the center of each handle. Two more similarly embossed designs are seen around the shoulders. The unglazed bottom rim of the base exposes the coarse, sandy and white body. The light brown glaze on this small vase appears exceedingly bright when held against the light which is an indication of recent products according to a book titled gu wan zhi nan (Guide of Chinese Antiques) written by Zhao Ruzhen in 1942, the most renowned modern connoisseur. Therefore, this piece should be recent, approximately made during the late 19th century to early 20th century. Nevertheless, the shape and glaze of this vessel are unusual and pleasing.	Qing dynasty; Republican period

42.	Small white-glazed straw hat-shaped bowl	This small straw hat-shaped bowl bears a slightly inward-turning mouthrim and a footring in a white glaze. Its inner sides are decorated with two raised walking four-clawed dragons surrounded by clouds, the leading dragon turning its head back. Between them are two flaming pearls which are also raised. On the bottom the footring is inscribed with two characters "shô" "sei" (There is no clue for this second one). Judging from the inscription and depiction of the dragons, it is evident that this small straw hat-shaped bowl is non-Chinese, and it seems highly likely that it was made in Japan. The white glaze appears exceedingly bright when held against the light, which is representative of later copies according to a book titled gu wan zhi nan (Guide of Chinese Antiques) written in 1942 by Zhao Ruzhen, a prestigious modern connoisseur. Consequently, this piece should be a recent product.

43.	White-glazed scholar's water pot	This small scholar's water pot has slanting shoulders, a compressed body and a footring. Its exterior is white glazed and decorated with incised floral sprays, alternated by a row of double connected lozenges. The base of the footring and the interior are plainly adorned and covered with a white glaze as well. A considerable number of black stamped dots can be seen on the inside bottom. The bottom rim of the footring is unglazed, exposing the white body. Originally the dealer dated this scholar's water pot to the Yongzheng period of the Qing dynasty (1723-1735). However, when taking a closer view, the surface of the glaze does not exhibit the orange skin patterns (ju pi wen) that typically appear on the Yongzheng vessels. Therefore, this piece is not a Yongzheng product. It is probably a recent copy made approximately during the late 19th century to the mid-20th century.	Qing dynasty; Republican period

44.	Small red-glazed lian-shaped censer	This small red-glazed censer with three triangular feet is modeled after an enhanced form of the archaic bronze lian, a kind of bronze tripod usually characterized by a cylindrical body and three zoomorphic legs. Censers were used to burn incense sticks at the altar, although by the Ming dynasty, their overriding appeal would have been decorative. The upper part of the exterior of this censer appears millet yellow with a thin layer of red glaze. Its interior is glazed in grayish white. It looks quite coarse and rough, given that a large area of grayish white glaze has flaked off, and there is a surplus of red glaze starting from the mouthrim. Overall the glaze on this vessel is not even and smooth. The bottom of the base is unglazed. It bears a red stamp "CHINA". As requested by the United States Law (U.S. Stamp Act of 1892), any exported wares to the United States from 1891 were required to be marked with "CHINA". It is evident that this object is specially designed for foreign trade given its average quality and the CHINA stamp.	Qing dynasty; Republican period

45.	Carved Fo Dog	This small red figurine depicts a Chinese Fo-dog which is a magical creature in their culture. The figure resembles a combination between a lion and the Chinese breed of dog called Shar-Pei. There are scales running down the back of the figure and its tail is similar to that of a mermaid. The figure is seated and rests on a carved wooden stand. One will notice if they look in the bottom cavity of the figure that it is not made of red horn, but has been painted to look so. The paint in this cavity has either flaked off or was never applied. This tells us that the object was produced as an imitation. One can easily compare the other red horn objects in the collection to realize that this is not authentic. When we compare the detail of the carving to that of object #68H25 we see that it does not add up.	Qing dynasty

46.	Miniature ge (halberd) blade-shaped ornament	This small pocket-size object is in the shape of pointed ge (halberd) blade with a disc-like ring at the lower center (from one piece of jade). The uneven surface of the blade is rough and unrefined. The carving technique is crude. On the surface of the blade, there is a curious decoration of short embossed lines between shallow notches; possibly stars joined together by lines, pictorially conveying the Yin and Yang principles in harmonious union.* This may have been a representation of the seven stars (somewhat like the chemical structure of an atom). The symmetrical design adhered closely to the actual form of the constellation as seen in the sky. From ancient time, the Chinese have always been fascinated with stars and believed in the metaphysical relations between them and the mysteries of human life-people's destinies are, in curious ways, connected with the inexplicable but regular movements of the stars. Scattered records of their early engagements in astronomical calculations show their remarkable acquaintances with stars on which numerous inquisitive theories are based. Approximately below the middle section of the pointer is a disc-like ring , the outer edge is beveled down from a thickness of 2 mm. The disc is not perfectly round. The drilled hole of this ring is worn out, probably from abrasion. The symmetrical design on the blade is echoed on surface of this ring with its obscure cloud-like pattern and tiny embossed nail-head dots between short lines. This jade piece appears to be quite 'antique' because it is seemingly covered with shuiyin qin (black mercury-like discoloration) caused by long-term burial. However, as far as is known, the exact shape of this jade piece does not occur during any historical period of China, according to the present authoritative catalogues about Chinese jades, such as zhongguo yu qi quan ji (Complete Works of Chinese Jades), gu yu tu pu (Illustrated Catalogues of Chinese Ancient Jades), and Chinese Jade from the Neolithic to the Qing (Jessica Rawson, London: The British Museum Press, 1995). Further, the making of jade objects was regarded as a sacred ceremony during ancient China. Therefore, the carving of the antique jades is exceptionally refined and elaborate. Usually their background is exceedingly smooth, bright and clean. As for this jade piece, the carving is extremely coarse and the background is uneven and unpolished. Moreover, the odd seven-star design is rarely found on Chinese jades. Therefore, it is evident that this piece is a recent product, probably made during the early 20th century. * Early Chinese Astrology embodied the belief that the stars were in unison, appearing in the darkness of night. They were demonstrated symbolically as the inseparable Yin and Yang principles of creation.	Republican period;

47.	Libation cup or bowl with dragon handle	This small object takes the form of a libation cup, rendered from an excellent translucent agate with dark brown and russet inclusions. The organic form of the boulder allows the carver to shape this oval boat-like cup. The low-cut relief of a cicada, landing on and clenching the mouth rim of the cup forms an organic accent to the handle designed as the stem of a winding branch of leaves. The carving style is rather unrefined. For the literati, enjoying wine with friends was one of a scholar's pleasurable times. It was viewed as a creative facilitator. This literary enjoyment has resulted in a plethora of wine vessels in jade and other different materials. However, this cup lacks two dominant threads of the jade carving heritage: naturalism and archaism. It indubitably hints that this object was probably a decorative collector's item among a diverse contemporary Chinese market. It would have appealed to the tastes of the avid collectors as a non-antique item.	Republican period

48.	Small neckless water pot	This small neckless water pot bears a globular body tapering to the bottom. Its exterior is glazed in three colors (san cai), namely green, brown and white. The glaze was dripped onto the piece starting at the mouth of the water pot. The bottom exterior is unglazed but smooth, and seems to have been polished. The interior is almost unglazed, except for a few thinly glazed patches in a cream color on the bottom of the interior. Moreover, the interior seems coarse and sandy. Part of it appears reddish brown. The three-color glazing on this piece is characteristic of the Tang style; therefore, this object is attributed to the Tang dynasty. It does not, however, display a high grade of workmanship.	Attributed to the Tang dynasty

49.	Small Langyao red-glazed (lang yao hong) Guanyin vase	This small Langyao red-glazed (lang yao hong) Guanyin vase has a flaring mouth, a short neck, a bulging body tapering to the bottom, and a splayed foot. Langyao red is a type of high-fired red glaze from the Jingdezhen kilns during the period in which they were supervised by Lang Tingji, the Governor of Jiangxi (1705-1712), during the Kangxi reign of the Qing dynasty. Copies of vessels with the Langyao-red glaze were made during the successive Yongzheng and Qianlong reigns. A considerable number of replicas were also produced during the Republican period (1911-1949). The Guanyin vase is a typical model of vase in the Kangxi reign of the Qing dynasty. It was made mainly in the Official Kilns either in monochromatic glazes or with fine underglaze blue decorations. The neck and mouthrim of this small Guanyin vase appear to be a millet yellow with a thin layer of Langyao red glaze. The base of the splayed foot is unglazed. Although this small vase is in the shape of Guanyin vase, a typical Kangxi vessel, it is too small in size and the form appears too rigid compared to the dated Kangxi objects. Further, The Langyao red glaze on this vase appears bright and glossy, which is characteristic of products that were made after the Kangxi period. Therefore, this piece should be a recent copy, probably made during the Republican period.	Republican period

50.	Eagle perching on a crouching Lion Dog (shih tzu kou) or Fo Dog	This small jade of an eagle perching on the back of a Fo dog or Lion dog is a typical example of jade animal miniatures carved in the round that stand independently without being part of anything else. Both animals have naturalistic poses. An auspicious creature, this crouching Fo dog (or Lion dog) unusually does not look ferocious; it is carved smoothly with no angular incised lines. It has a contented pose with an uplifted snout and closed mouth. Its front legs quietly stretch out in front of his chest. The paws have distinctive claws. His pointed ears are laid back. The eyes are not bulging but rather half-opened, looking upward to the snooping eagle. The emerald blotches are nicely rendered on the top of the eagle's head, giving it a sense of grace and tranquility. Both the "Fo Dog" and the eagle are symbols of superhuman strength and are known as protectors. Their functions as jade animal figures are debatable. Very few pieces can be accurately and reliably dated. From the Han to the Qing dynasty, they were traditionally used as tomb goods, decorative items, collectibles, or for the enjoyment of officials and scholars. These auspicious creatures were probably viewed in a very different way by their owners. Their symbolic meanings intend to benefit the owners in many ways. This carving might have functioned as a paper weight as it has rectangular, strong features and a steady base. Based on its carving style, this item could be basically attributed to the late Qing period when later animal carvings were essentially pictures. The jade of this period had lost its associations with permanence and immortality.	Qing dynasty

51.	Ivory figurine	This small ivory figurine shows a man holding a fish in his right hand and a pipe or large spoon in his left. The bald head and robe indicate that this figure is a Buddhist monk. The fish may represent some other accomplishment the monk has made, or it could be a symbol of freedom from restraint. The freedom he has attained may relate to the pipe he holds in his left hand. The detail of this object is good as the scales on the fish and the folds of the robe are depicted realistically. The object seems to have been made out of the small portion of the ivory tusk. It comes with a wooden stand from which it is detachable. There are pegs carved from the ivory attached to his feet which correspond to holes in the stand. This may indicate that the wooden stand and the ivory carving are contemporary and probably made for each other. By the style and color of the ivory it is possible that this piece dates to the lµate Qing Dynasty in China.	Qing Dynasty;

52.	Imperial yellow copper cloisonné covered cylindrical container	This small imperial yellow cloisonné* covered container has a mushroom-shaped knob, a short neck and a cylindrical body which tapers to a short copper cast footring. The edges of the knob, the cover and the mouth are un-enameled, exposing the copper cast. Both the cover and the container are illustrated with colorful enameled decorations in gilt outlines. A single rosette flower adorns the top of the knob whose short stem is enameled in bright blue. The body of the cover is primarily decorated with pink lotus scrolls surrounded by red lingzhi fungus and green leaves against the supplemental man cao wen (coiling vine and leaves design) in various colors. The lotus is a symbol of purity and integrity. It is also one of the eight precious Buddhist things. The lotus comes out of the mud but remains itself unstained. It is inwardly empty yet outwardly upright. It has no branches (no family/offspring) yet smells sweet. The Lingzhi fungus is an ingredient of the elixir of immortality and thus, a symbol of longevity. It resembles the ruyi (as you wish) scepter, or wish-fulfilling wand, popular in later Ming and early Qing art. The top of the cover is adorned with a band of bright blue cloud collars, and the bottom with a band of semi-circular rings. The short neck of the container has a band of rings on a bright blue background. Around the shoulders is a band of bright blue cloud collars. The cylindrical body, as the cover, is ornamented with pink lotus scrolls surrounded by red fungi as a primary motif, and the man cao wen as a supplemental motif in many colors. A band of bright blue stylized lotus petals is depicted on the bottom. The interior of this container is enameled in dark blue. The lotus scrolls surrounded by fungi resemble more or less the designs on a Tibetan-style ewer for ablutions dated to the Qianlong reign in the Asian Art Museum of San Francisco (p.295 cat. 612, from He Li, Chinese Ceramics: The New Standard Guide (London: Thames and Hudson, 1996)). It is highly likely that this recent cloisonné covered cylindrical container is after the Tibetan-style model made during the High-Qing period. * Cloisonné is an enamel ware, in which the colors of the design are kept apart by thin metal strips. It is typically called the "Blue of Jingtai" as blue is the dominant color adopted for enameling and cloisonné became prevalent during the reign of Jingtai (1450--1456) in the Ming Dynasty. Major work processes include: making the red-copper roughcast, forming patterns on the roughcast with thin copper strips, filling patterns with enamel of different colors, firing, and polishing. The making of cloisonné integrates bronze and porcelain-working skills, traditional painting and etching. It is the pinnacle of traditional Chinese handicraft. The making of cloisonné requires rather elaborate and complicated processes: base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. Beijing is where cloisonné making originated. The earliest extant cloisonné was made in the Yuan Dynasty (1271-1368). The best was made during the Xuande period (1426-1456) of the Ming dynasty. During the Jingtai period (1426-1456) of the Ming, handicraftsmen found dark-blue enamel which gave cloisonné the gorgeous, solemn look which is still used today. During the Qianlong period (1736-1795) of the Qing Dynasty, the skills of making cloisonné reached their pinnacle when pure copper began to be used for rough casts. During the Ming and Qing dynasties, the most famous workshops which produced cloisonné were called the "folangqian kiln" (the cloisonné kiln), also known as the "guiguo kiln" (kiln in the devil's country).	Qing dynasty; Republican period

53.	Small garlic head vase with painted iron red chilong (chi dragon)	This small garlic head vase has a short and small dish-shaped mouth, a waisted neck, a slightly compressed globular belly and a tall footring. Its exterior is primarily decorated with three painted chilong (chi dragon) designs in iron red on a white background. Two chi dragons face each other on bottom while a third one descends on top. The representation of the chi dragons here is quite sophisticated and stylized. The Chi dragon is a type of dragon with two tails and without an antler. Sometimes, however, it is depicted with a horn as seen on this vase. It is believed to be an auspicious mythical creature that can exorcize evils and protect from disasters. The Qianlong emperor particularly adored the chi dragon design and considered it as xi (happiness). On the bottom of the tall footring there is a six-character reign mark "da qing yong zheng nian zhi" (Made during the Yongzheng Reign of the Great Qing; 1723-1735) in underglaze blue and two columns within a double-circle ring. However, this small garlic head vase is not a Yongzheng product. First of all, the shape of this vase is not after the Yongzheng model. Secondly, all characters of the reign mark are written in distinct hollow lines, a typical practice that frequently appears on recent copies. As such, this piece should be a later product, probably made during the late 19th century to the mid-20th century. Nonetheless, it displays a good grade of workmanship.	Qing dynasty; Republican period;

54.	Thin octagonal carving of eight petals	This small eight-petal ornament is formed from a relatively thin slice of jade. The border is carved to eight lobed petals of the lotus, each enclosing a double spiral joined by a loop. At the center is a striated circle bearing the character for zhong, meaning middle/center. Ancient Chinese cosmological theories divided the world into eight directions. The Chinese considered their country the center of the world that contained the quintessence of the cosmos or the chi. The meaning of the design and the function of the button-shaped piece can be very obscure at first glance; however, this button has two tiny holes for thread, supposedly for sewing it to the lapel of a costume or a hat. These holes help reinforce the inference that this ornament could have actually been a formal ornamental button on the cap, denoting an individual's grade, rank, or order. The distinctive form of the Chinese official costume was formerly subject to special codes and restrictions laid down by the Board of Ceremonies. The ancient insignia and garment accessories (as part of an official's formal costume) under different dynasties are divergent. For instance, under the Manchu dynasty, there were nine grades.* The material (gold, silver, jade, stone…) and the design of the ornaments vary upon the official's rank (classed or unclassed /military or bureaucrat). Different designs of buttons and plaques for Foreign Ministers, Vice Ministers and Inspector General of Customs have a similar octagonal floral design.** * For some rudimentary details on ancient Imperial and officials costumes, see Charles Alfred Speed Williams. Chinese Symbolism and Art Motifs: an Alphabetical Compendium of Antique Legends and Beliefs, as Reflected in the Manners and Customs of the Chinese, pp 87-94. ** ibid., 134-135.	Qing dynasty; Qianlong reign

55.	Small copper cloisonné covered jar	This small copper cloisonné* covered jar bears a dish-shaped mouth, a globular body and a footring. The exterior of both the cover and the jar are adorned with floral scrolls in many colors on a glossy dark blue enameled background. The edge of the cover, the mouth, the outer and inner sides of the footring are uncovered and the copper cast is exposed. The interior of the cover is plainly decorated and covered with blue enamel while the interior of the jar as well as the base of the footring are have a greenish-blue enamel. In the center of the cover body is a lotus flower scroll with lingzhi fungus-shaped petals against supplemental man cao wen (coiling vine and leaf designs) in various colors. The lotus is a symbol of purity and integrity. It is also one of the eight precious Buddhist things. The lotus comes out of the mud but remains itself unstained. It is inwardly empty yet outwardly upright. It has no branches (no family/offspring) but yet smells sweet. Lingzhi fungus is an ingredient of the elixir of immortality and thus, a symbol of longevity. It resembles the ruyi (as you wish) scepter, or wish-fulfilling wand, popular in later Ming and early Qing art. On the bottom of the cover body are two piles of light green fruit. The body of the jar primarily depicts pinkish white and yellow lotus flower scrolls in the same form as the one on the cover, alternated with plum blossom in the same enamel and bearing three colorful tassels. The plum blossom, one of sui han san you (Three Friends of Winter, namely pine, bamboo and plum, which still keep their integrity when all other plants wither and their leaves fall), is important to the Chinese as a symbol of longevity and good fortune. The background is filled with supplemental man cao wen in many colors. On top of the exterior jar is a band of continuous light green cloud collars with red triangular leafy patterns in between. At the bottom are two piles of light green fruits. Obviously, this cloisonné covered jar is a recent product and was specially designed for the foreign trade given its average quality and decoration. * Cloisonné is an enamel ware, in which the colors of the design are kept apart by thin metal strips. It is typically called the "Blue of Jingtai" as blue is the dominant color adopted for enameling and cloisonné became prevalent during the reign of Jingtai (1450--1456) in the Ming Dynasty. Major work processes include: making the red-copper roughcast, forming patterns on the roughcast with thin copper strips, filling patterns with enamel of different colors, firing, and polishing. The making of cloisonné integrates bronze and porcelain-working skills, traditional painting and etching. It is the pinnacle of traditional Chinese handicraft. The making of cloisonné requires rather elaborate and complicated processes: base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. Beijing is where cloisonné making originated. The earliest extant cloisonné was made in the Yuan Dynasty (1271-1368). The best was made during the Xuande period (1426-1456) of the Ming dynasty. During the Jingtai period (1426-1456) of the Ming, handicraftsmen found dark-blue enamel which gave cloisonné the gorgeous, solemn look which is still used today. During the Qianlong period (1736-1795) of the Qing Dynasty, the skills of making cloisonné reached their pinnacle when pure copper began to be used for rough casts. During the Ming and Qing dynasties, the most famous workshops which produced cloisonné were called the "folangqian kiln" (the cloisonné kiln), also known as the "guiguo kiln" (kiln in the devil's country).	Qing dynasty; Republican period

56.	Prayer wheel	This small circular prayer wheel is carved from bowenite, a variety of serpentine that has a pale grey green color (not off-white). It was mostly used to substitute jade. The stone has some dark intrusions. Both sides of the carving are identical. The outside edge is carved with five stylized bats, a symbolizing longevity. The movable center or hub has a symbol of longevity. It functions as a prayer wheel in the temple or on a private altar. One can turn the Wheel by holding the central button between the finger and thumb of one hand, while the other hand revolves the Wheel.

57.	Moss Agate Bowl	This small carved moss agate round bowl has curving ribbed sides and two flower-loose-ring handles. It stands on a relatively high footring supported by an intricately carved wood stand. The lace-like moss agate texture is exquisite; it aesthetically enhances the value of the piece. The overall shape and design makes it hard to categorize the shape and the function of this bowl. Therefore, it is difficult to date this bowl since it does not resemble any distinctive type. It may have been produced to meet the endless demands of the enthusiastic Western collectors or to function as a household decorative object.

58.	Ivory carving	This small carved ivory object may be a pendant or some other kind of ornament. It has been carved in the shape of a Buddha's-hand fruit. The fruit is closed and this may provide insight as to its purpose. The closed hand symbolizes prayer in Buddhist thought. The fruit is also a symbol of wealth. Notice the dark color of the ivory. This is probably a result of two things. The first is the age of the ivory, which probably dates to the Ming Dynasty. The second is the fact that it has been handled by human hands for a long time.	Ming dynasty;

59.	Small brass cloisonné covered jar	This small brass cloisonné* general's helmet jar (jiang jun guan) bears a short neck, a bulging body tapering to the base, and a flaring footring. The jar is named for its cover which, with its pearl-shaped finial, resembles an army general's helmet. This type of jar was first seen in the Jiajing (1522-1566) and Wanli (1573-1620) reigns of the Ming dynasty. It became very popular during the Kangxi reign of the Qing dynasty (1662-1722). The sides of its mouthrim and footring as well as the knob, have no enamels, exposing the brass cast. The interior and the base of the footring are blue enameled, without any decoration. Overall the exterior of this jar is adorned with four registers of the decoration in gilt outlines. The first register, decorated on the neck, consists of a band of continuous lotus petals followed by a group of rings on a white background. Around the shoulders comes the second register, which illustrates a band of connected green cloud collars. Between the cloud collars are red triangular patterns. The third and major register on the bulging body represents floral scrolls such as the lotus and peony scrolls in various colors against the supplemental man cao wen (coiling vine and leaf design) diagrams on a white background. On the bottom is the fourth register of decoration which depicts a pile of green circular fruits. The lotus is a symbol of purity and integrity. It is also one of the eight precious Buddhist things. The lotus comes out of the mud, but remains itself unstained. It is inwardly empty yet outwardly upright. It has no branches (no family/offspring) yet smells sweet. The peony, known as fu gui hua (the flower of wealth and rank), conveys a wish for official rank in the emperor's civil service as well as a salary and perquisites to ensure wealth. The cover is primarily decorated with peony sprays against the supplemental man cao wen diagrams on a white background. On its angular rim is a band of rings on a white background, which echo the designs on the neck of the jar. All the motifs here are in gilt outlines as well. Although the shape of this small general's helmet jar is according to the Kangxi model, it is evidently just a recent copy as stated by Dr. Kramer's original inventory record. * Cloisonné is an enamel ware, in which the colors of the design are kept apart by thin metal strips. It is typically called the "Blue of Jingtai" as blue is the dominant color adopted for enameling and cloisonné became prevalent during the reign of Jingtai (1450--1456) in the Ming Dynasty. Major work processes include: making the red-copper roughcast, forming patterns on the roughcast with thin copper strips, filling patterns with enamel of different colors, firing, and polishing. The making of cloisonné integrates bronze and porcelain-working skills, traditional painting and etching. It is the pinnacle of traditional Chinese handicraft. The making of cloisonné requires rather elaborate and complicated processes: base-hammering, copper-strip inlay, soldering, enamel-filling, enamel-firing, polishing and gilding. Beijing is where cloisonné making originated. The earliest extant cloisonné was made in the Yuan Dynasty (1271-1368). The best was made during the Xuande period (1426-1456) of the Ming dynasty. During the Jingtai period (1426-1456) of the Ming, handicraftsmen found dark-blue enamel which gave cloisonné the gorgeous, solemn look which is still used today. During the Qianlong period (1736-1795) of the Qing Dynasty, the skills of making cloisonné reached their pinnacle when pure copper began to be used for rough casts. During the Ming and Qing dynasties, the most famous workshops which produced cloisonné were called the "folangqian kiln" (the cloisonné kiln), also known as the "guiguo kiln" (kiln in the devil's country).	Qing dynasty; Republican period

60.	Small blue and white vase	This small blue-and-white vase has a long, straight neck, a bulging compressed belly tapering to the bottom and a tall footring. Its exterior is decorated with seven registers of designs. A band of plantain leaf designs adorns the neck with double 'bowstring' rings on top. Below are lei wen (thunder pattern) spirals followed by cloud collars. They are separated by double 'bowstring' rings. The upper part of the belly is illustrated with floral scrolls against a background of man cao wen (coiling vine and leaves design). Following this is a band of stylized lotus petals on the lower part of the belly. The remaining two registers are floral sprays and leafy patterns. All of the last three registers of design are separated by double 'bowstring' rings. The inner walls and the bottom of the footring are unglazed, exposing the white body. Originally Dr. Kramer dated this small vase to the Kangxi period (1662-1722); however, this is not a Kangxi piece. The underglaze blue on this piece is not as bright and multi-layered as that on the dated Kangxi vessels. No typical Kangxi 'fingerprint mark' (zhi yin wen) is visible through the underglaze blue, either. There are defects and bubbles within the glaze when taking a close view. Therefore, this piece should be just a recent copy, probably made during the late 19th century to the mid 20th century. Nonetheless, it demonstrates an excellent grade of workmanship.	Qing dynasty; Republican period