Page 122 - Chinese Porcelain Vol II, Galland

KANG-HE.
318

musicians ; the two ladies at the side are the same as the two
in the centre one holds a fan, the other a flower. Of the two
attendants, one is handing tea, the other fanning the charcoal
fire where the water is being heated. The sides are left plain,
with two blue rings top and bottom ; while, as in No. 547, the
rim is decorated so that the figures stand the same way as in
the centre, and not, as in most cases, radiating like the
spokes
of a wheel; this arrangement obviates those at the bottom
standing on their heads. At the back four flower sprays in
broad washes. The two ladies in the centre look much
very
the same as those in No. 603, but the description sent from
"
China of this motive is merely : Chinese ladies in a garden
look at a paeony, a servant preparing tea on the left." (" The
paeony is an emblem of great prosperity. It is often seen on
Chinese china." E. M.
L.)
No. 547. Blue and white Diameter, 14f inches
plate. ;
2 inches. Mark "
height, (to the reader's left hand), Ching-hwa,"
in two blue On the border at there is a willow tree,
rings. top
at bottom a palm ; but, owing to the glaze, the latter has not
come out in the On each side there are two
photograph.
ladies with rocks, etc. In the middle a lady seated, with fan
bearer, watches a girl dancing, while five others form the
orchestra. At back two groups of rock scenery. The danseuse
"
is said to be a favourite lady named Dieu Hi Yeng, of the
harem of the Emperor Sin of the Han dynasty, dancing and
before the while a of maidens
singing Empress, company
accompany her, playing on various instruments."
Allowing for the difference in spelling, this is the Chao
Fei-yen referred to by Mayers at p. 13. "A famous beauty.
of a musician, she was trained as a and
Daughter dancing-girl,
from her and litheness received the Fei Yen
grace appellation
(flying swallow). Left with her sister, Ho-teh, unprotected
on their father's death, the two made their way to the
girls
capital, where, after maintaining themselves for a time as
courtesans, they attracted the notice of the Emperor Cheng
Ti, B.C. 18, who took them into his seraglio, and made Fei Yen
his favourite concubine, with the title tsieli-yu, or lady-in-
waiting. Her skill in the art of dancing (posturing) was such
that it is said of her she could dance on the palm of a hand or
in a bowl. In B.C. 16 the infatuated with his new
Emperor,