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According to Chinese tradition it was produced at least as early as the Northern Sung dynasty in the Province of Honan at kilns of which the position is unknown but believed to have been within the ancient limits of the [[underline]]"Fu"[[/underline]] of the same name.

The ware falls naturally into the category of [[underline]] Chun yao [[/underline]], but the body-clay is a darker brownish hue and the glaze often a light blue which seems either to have been laid over, or to bubble up from beneath a rich brown. A large proportion (perhaps 75%) of the examples of [[underline]] K'uan Ch'ou yao [[/underline]] which I have examined have been in the form of sculptured animals and birds such as tiger head-rests and lion candlesticks. The Chinese collectors have never valued [[underline]] K'uan Ch'ou [[/underline]] ware as that of [[underline]] Chun [[/underline]], and even today, though it has begun to have a scarcity value and to be sought after by collectors, it is rightly placed on a lower level from aesthetic and technical points of view. Clever imitations are now made at the village of Hae Wan, about three miles from Canton.

I made attempts to see five other collections in and near Hongkong, but found that the owners had either moved away or had deposited their valuables with one of the foreign banks for safe keeping.

[[underline]] CHUN COLLECTION [[/underline]] Having been unable to visit the collection of Mr. Chun Ch'ik Yu on the my first stop to Hongkong, on my return from Indo-China I hastened to Macao to present the letter of introduction with which Mr. Freer had provided me. Three days were passed in examining the remarkable specimens which Mr. Chun showed to me, although they were few in number. In this short time the choice nature of the objects which I was