# China: Its History, Arts, and Literature/Volume 1/Marks and Seals on Chinese Porcelains

MARKS AND SEALS
ON
CHINESE PORCELAINS
No trustworthy inference as to date of manufacture can be drawn from the mark or seal on a specimen of Chinese porcelain, for experts have never hesitated to forge either seal or mark when such a course might enhance the value of a piece. But where other distinguishing features are present in pâte, glaze, and decoration, the mark often serves as a conclusive indication of period.
There are various kinds of marks, but the principal are year periods and hall marks. As to the former, it should be explained that a year period means the era comprised in the reign of a Sovereign. Thus, when the Chien-lung period, or era, is mentioned, the reign of the Emperor Chien-lung is referred to. Sometimes the name of the year period is preceded by that of the dynasty, as Ta-Ming, "great Ming" (dynasty), or Ta-Tsing, "great Tsing" (dynasty), and usually two ideographs are added, namely nien chih (year make). Thus a full mark of date becomes, for example Ta-Tsing Chien-lung nien chih (made in the Chien-lung year-period of the Great Tsing). Very often, however, the dynasty is omitted, and, less frequently, the ideographs nien chih are not used. The year mark may be written in ordinary ideographs or in the seal characters. Speaking practically, year marks may be said to commence from the Ming dynasty.
The hall mark is distinguished by the character tang, which signifies "kiln" or "atelier". It furnishes no information, for a record of kilns and their dates does not exist, and even if such did exist, the student would still be confronted by the possibility that he has before him an imitation, not an original. Thus, such a hall mark as Ki-yuh-tang chih (made in the hall of rare jade) tells nothing except an atelier or kiln called Ki-yuh-tang existed at some time in some place, and that fine ware was produced there.
Scarcely deserving to be classed as marks, since they were never intended to have any distinctive character and must be regarded as purely ornamental additions, are various symbols, pictorial designs or inscriptions, congratulatory or appreciative, which occur on many specimens. The commonest are given below.
CYCLICAL MARKS.
One method of reckoning time in China is by cycles of sixty years, namely, the sexagenary cycle, which is constructed by combining the twelve signs of the zodiac (called for this purpose the "Twelve Terrestrial Branches"), with five "Celestial Stems", of each of which there is an "elder" and a "younger". Thus the elements of the composition are, in fact, twelve branches and ten stems, which, if combined in pairs, would give 120. But as each stem is combined with each alternate branch only, the result is sixty. The whole period of Chinese history since 2637 B.C. ​is thus represented by cycles, and if each cycle were accompanied by a number representing its place in the long series, the corresponding date could be fixed certainly. But there is no such aid in the case of porcelain marks. What the cyclical indication shows is merely the year of the cycle itself. Thus, when a date is given, as "elder earth of tiger year," or "younger water of bird year," nothing can be inferred except that the reference is to the 15th and 10th years respectively of a certain sixty-year period. Cyclical dates occur very rarely on porcelain, and when they do occur, their intelligibility depends on collateral indications furnished by the ware itself. The following two examples are taken from the "Catalogue" of the late Mr. Franks:—
* Wo-shin nien Liang-ki sho = painted by Liang-ki in the year of the "elder earth of the hare"; i.e., the 5th year of a cycle, which from the quality of the piece, Mr. Franks identifies as the 75th cycle. Taking 2637 B.C. as the basic year, the 75th sexagenary cycle began in the year 1803, and its fifth year corresponds with 1808.
* Yu sin-chou nien chih = made in the year of the recurring younger metal of the ox: i.e., the 38th year of the cycle. The qualifier "recurring" is arbitrarily in reference to the fact that this year occurred twice in the long reign of Kang-hsi. Hence it can be fixed as the year 1721.
YEAR-PERIOD MARKS.
Sung Dynasty (960—1279 A. D.).
* Ta-Sung Ching-tê nien chih = made in the Ching-tê period of the Great Sung (1004—1007). The first use of a year-mark on porcelain is attributed to the Emperor Chin-tsung, in whose reign the Ching-tê-chên factory was established. The mark here given is the seal-character form, which was seldom used by any potters before the seventeenth century. Consequently, this mark, No. 3, must be regarded as a mere ornament.
* Ordinary form of No. 3. This mark is found on some old specimens of blue-and-white porcelain in Japanese collections, but it must be regarded as a forgery.
* Ta-Sung Yuan-fung nien chih = made in the Yuan-fung period of the Great Sung (1078—1086 A.D.). This mark, like No. 4, is found on some archaic specimens of blue-and-white porcelain in Japanese collections.
Ming Dynasty (1368—1644 A.D.).
* Hung-wu nien chih = made in the Hung-wu era (1368—1398). This era belongs to the Ming dynasty, but the mark is not found with the prefatory ideographs Ta-Ming.
* Yung-lo nien chih = made in the Yung-lo era (1403—1425). This era also is seldom found in conjunction with the mark of the dynasty (Ta-Ming).
* Another form of No. 7. This form is nearly always found in relief.
* Ta-Ming Hsuan-te nien chih = made in the Hsuan-te era of the Great Ming (1426—1435).
* The seal form of No. 9. The use of the seal character in the Hsuan-te era was exceptional.
* Ta-Ming Cheng-hwa nien chih = made in the Cheng-hwa era of the Great Ming (1465—1487).
* Cheng-hwa nien chih = same as No. 6, without the ideographs Ta-Ming.
* The seal form of No. 12. This form is seldom genuine.
* Ta-Ming Hung-chih nien chih = made in the Hung-chih era of the Great Ming (1488—1505).
* Ta-Ming Chêng-te nien chih = made in the Chêng-te era of the Great Ming (1502—1521).
* Ta-Ming Chia-tsing nien chih = made in the Chia-tsing era of the Great Ming (1522—1566).
* Ta-Ming Lung-ching nien chih = made in the Lung-ching era of the Great Ming (1567—1572). ​18. Ta-Ming Wan-li nien chih = made in the Wan-li era of the Great Ming (1573-1620). 19. Ta-Ming Tien-chi nien chih = made in the Tien-chi era of the Great Ming (1621-1627). 20. Chung-chen nien chih = made in the Chung-chen era (1628-1643). N.B. The last of the Ming eras. It is seldom found with the prefix Ta-Ming. Tsing Dynasty (1644 to present time). 21. Ta-Tsing Shun-chi nien chih = made in the Shun-chi era of the Great Tsing (1644-1661). 22. Seal form of No. 21. 23. Ta-Tsing Kang-hsi nien chih = made in the Kang-hsi era of the Great Tsing (1662-1722). 24. Seal form of No. 23. 25. Ta-Tsing Yung-ching nien chih = made in the Yung-ching era of the Great Tsing (1723-1735). 26. Seal form of No. 25. 27. Ta-Tsing Chien-lung nien chih = made in the Chien-lung era of the Great Tsing (1736-1795). 28. Seal form of No. 27. 29. Seal form of No. 27 without the prefix Ta-Tsing. 30. Chia-ching nien chih = made in the Chia-ching era (1796-1820). N.B. This is also found with the prefix Ta-Tsing. 31. Ta-Tsing Chia-ching nien chih = seal form of No. 30. 32. Ta-Tsing Taou-Kwang nien chih = made in the Taou-Kwang era of the Great Tsing (1821-1850). N.B. This is frequently found without the prefix Ta-Tsing. 33. Seal form of No. 32. 34. Another form of No. 33. 85. Ta-Tsing Hsien-fung nien chih = made in the Hsien-fung era of the Great Tsing (1851-1861). 36. Seal form of No. 35. 37. Ta-Tsing Tung-chi nien chih = made in the Tung-chi era of the Great Tsing (1862-1874). 38. Seal form of No. 37. 39. Ta-Tsing Kwang-hsü nien chih = made in the Kwang-hsü era of the Great Tsing (1875—still reigning). 40. Seal form of No. 39. HALL MARKS. 41. Shung-tê-tang chih = made at the Hall of the Practice of Virtue. 42. Lin-yu-tang chih = made at the Jade-forest Hall. 43. Ching-lien-tang fan-ku chih = made in imitation of old ware at Ching-lien (name of a renowned scholar) Hall. 44. Ki-yu-tang chih = made at the Hall of Rare Jade. 45. Lyu-tang chih = made at the Hall of Ductile Jade. 46. Tseu-shun-met-yu-tang chi = made at the Hall of Good Order and Fair Jade. 47. Ta-shu-tang chih = made at the Hall of Great Trees. 48. Lyu-tang chih = made at the Hall of Profit. 49. Yang-ho-tang chih = made at the Hall for Promoting Tranquillity. 50. Lu-i-tang = Hall of Green Ripples. 51. Tsai-jun-tang chih = made at the Hall of Glowing Tints. 52. Yu-tang kia-ki = fair vessel of the Jade Hall. NOMINAL MARKS. N.B. Names of makers are rarely found on Chinese porcelains, and when they do occur they are of little use for purposes of identification, for no records hitherto available give any accurate account of Chinese Keramists, with the exception of the Yi-shing artists referred to in the text. 53. Shing-yu Ya-chi = graceful assem- blage of revered friends. This mark is not identified. It may be merely a complimentary mark; or it may be, as Mr. Franks suggests, the name of a firm. 53-A. Li-chih = a maker's name. 54. Chung-kuh-shi = the Chung-kuh family. 55. Fun = the name of a maker. 56. Tsun-chin = the name of a maker. 57. Lin Chang-tse tsao = made by Lin Chang-tse. 58. Kō Ming-chiang chih = made by Kō Ming-chiang; a mark found on flambé Kwang-yao dating from the seventeenth century. ​ MARKS AND SEALS MARKS USED IN PRAISE OF THE SPECIMENS ON WHICH THEY OCCUR OR AS SIGNS OF FELICITATION. 59. Shou = longevity. 60. Shan wang = mountain king; i.e., best of the kiln. 61. Fuh-kwei kia-ki = fine utensil for the rich and honorable. 62. I-shing = harmony and prosperity. 63. Jo-shin chin tsang = deep like a treasury of jewels. 64. A form of the character Fuh = wealth. 65. Nan-chwan kin-yu = brilliant jade of Nan-chwan; i.e,. southern river. 66. Shuai-fu Kung-yung = for public use in the general's hall; i.e., for official use. 67. Gai-lien chin-chang = rare prize for a lover of water-lilies; i.e., in allusion to the decorative design on the piece. 68. Sai-yu = jade of the West; i.e., best jade. 69. Yuh-lai = coming of a friend. 70. Lao-shing = holy and revered. 71. Tan-kwei = red olive; the olea fragrans being metaphorical of literary honour. 72. Fuh Kwei Chang-chun = wealth, honour, and a long spring, i.e., longevity. 73. Another form of No. 72. 74. Fuh Lu shou = fortune, income, and longevity. 75. Seal form of No. 74. 76. Wan-shou Wau-chiang = ten thousand lives unending. 77. Shou = a form of the third ideograph in No. 74. 18. Fuh Kwei Chang-ming = wealth, honour and a long life. (Read from right to left and then from top to bottom.) The whole figure represents a monetary token—the copper cash. 19. Chi-hsiang ju-i = good fortune and happiness, as much as desired. 80. Ta-chi = great fortune (luck), 81. Wun = literature. 82. Ching = gratulation. N.B. Innumerable forms of this character exist, as also of Fuh (Wealth); Vide Nos. 43 and 45. 83. Shwang-hsi = combined felicity. 84. Another form of No. 83. 85. Lu = income. 86. Kwoh = country. 87. Shu-fu = central palace. 88. Shun = order. 89. Hing = exalted. 90. Yu = jade. 91. Chin = rare. 92. Ku = ancient. 93. Shing = revered. 94. Tsuen = perfect. 95. Chin-wan = rare toy. 96. Wan-yu = pleasant Jade. 97. Chin-yu = true Jade. 98. Yu-wan = charming toy. 99. Ki-yu pao-ting chi chin = rarity of a revered vessel of precious jade. 100. Ki-shi pao-ting chi chin = rarity of a revered vessel of precious stone. 101. Tsai-chwan chih-lo = rivers of delight and order. 102. Ki-chin jo-yu = precious and rare as jade. 103. Wun-chang shan tou = earning as high as the hills and the North Star. 104. 105. 106. illegible ideographs found on wares of inferior quality. N.B. The Marks on good specimens are always well formed, whether they are in relief, incised or painted. 107. 108. 109. SYMBOLIC OR PICTORIAL MARKS. 110. A pearl; emblem of precious things. 111. Another form of No. 110. 111-A. Another form of No. 110. 112. A coin; emblem of riches. 113. An emblem of success. 114. Another form of No. 113. 115. Another form of No. 113. 116. Another form of No. 113. 117. A musical stone; emblem of good fortune. 118. Two books; emblems of literary attainment. 119. Crossed rhinocerous horns, emblem of might. 120. Another form of No. 119. 121. Leaf of artemesia; emblem of good augury. 122. 123. variants of No. 121. 124. N.B. Nos. 110, 112, 113, 114, 117, 118, 119, 121 are called the Pa-pao or Eight Precious things. ​125. The wheel of the Law in flames; one of the Eight Buddhist emblems (Pa-chi-hsiang). 126. A bell; exchangeable with No. 125. 127. A chank shell; one of the Buddhist emblems. 128. A State umbrella; one of the Buddhist emblems. 129. A variant of No. 128. N.B. The umbrella is a symbol of good administration. It is presented to a successful governor by the people in his district. 130. A canopy; one of the Buddhist emblems. 131. A form of No. 130. 132. 133. Forms of the lotus flower; a Buddhist symbol. 133-A. 134. 135. Forms of the sacred vase (Buddhist). 136 . 137. A variant of No. 127. 138. Two fishes; Buddhist emblem; a mark originally used on céladon ware. 139. 140. 141. 142. Buddhist emblems of longevity. 143. 144. A tripod censer. 145. 146. The fungus (chi) of longevity. 147. 148. A variant of No. 144. 149. Buddhist sceptre of longevity (joi) and musical stone; (vide No. 117). 150. A form of chrysanthemum. 151. Peach and bat; emblems of longevity and happiness; because the ideographs representing them have the sounds fuh-shou; (vide No. 74). 152. A pencil, a cake of ink and a sceptre of longevity; the ideographs for which have the same sounds as pi-tang jo-i (may events be as you wish). 153. The swastika inside the symbol No. 113; representing the universe. 154. The hare in the moon; an emblem of longevity. 155. 156. A decorative figure said to be found on old embroideries. 157. A gourd with the ideograph fuh (prosperity). 158. A censer. 159. A pencil and scroll; emblems of literary skill. 160. The seal character for shou (longevity). 161. A bat; (vide No. 151). 162. The Eight Trigrams surrounding the Active and Passive Principles. 163. Fungus-shaped head of the Sceptre of Longevity; (vide No. 145 and No. 149). 164. 165. Forms of chrysanthemum. 166. 167. A plumb spray. 168. A peach petal. 169. A cherry petal. ​ ​
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