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[[underline]] Chapter XVIII. [[/underline]] 385. ------------------- [[superscript]] (342) [[/superscript]] In connection with this subject of ancient Chinese ceramics, see Dr. G. D. Wu's [[strikethrough]] " [[/strikethrough [[underline]] Prehistoric Pottery in China [[/underline]] [[strikethrough]] " [[/strikethrough]], London, 1938; also my review and criticism of the same, in [[underline]] Antiquity [[/underline]] for December, 1939, pp. 478-481. ----------------------------- The gray ware seemed invariably to have been handmade, by the "coiling" process also known in many other parts of the world and still used in certain regions of China itself ([[underline]] cf. [[/underline]] pl. [[strikethrough]] XC). [[/strikethrough]] ^[[34).]] At least here as elsewhere, none of the shards of that type showed signs of having been "thrown" on the potter's wheel, while many of them clearly were not. Many specimens of this ware had their surfaces modified in various ways, usually by incising, by applying various elements before firing, or by the simple impression of different materials, such as matting or basketry, on the clay while the latter was still moist. [[superscript]] (343) [[/superscript]] Very common was ------------------- [[superscript]] (343) [[/superscript]] No certain impressions of true textiles were found at Wa Cha Hsieh; but on the question of weaving there, see below, pp. 3^[[9]]3 [[underline]] sq. [[/underline]] -------------------------- the "herring-bone" pattern, sometimes repeated in horizontal registers which seemed originally to have encircled the entire vessel. Surfaces were also sometimes marked with indentations, fine or coarse; or by pinching them up while still soft in rows of regularly spaced "nipples". In general, patterns of the "impressed" class seemed not to have [[strikethrough]] due [[/strikethrough]] been due primarily to a desire for ornamentation, but to have resulted adventitiously, in the process of manufacture; for they were merely the markings left by materials which may have been pressed against the moist clay to hold it in shape while it was being manipulated in the making of the vessel. In the [[underline]] appliqué [[/underline]] technique, on the other hand, blobs or strips of clay were luted onto the surface of the vessel before it was fired, apparently for no other purpose than that of decoration. Two very common forms found in the coarse gray ware were both of them varieties of tripods---the one known today as the [[underline]] ting [[/underline]] 鼎, the other