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External sources (not reviewed)

The seal used here which reads, Mr. Zhou (Zhou shi), is, as far as we can see, not used elsewhere on his works, although

Pale yellowish lime-green glaze on porcelain; with a flat lip and recessed flat foot surrounded by a protruding flat footrim; carved on one main

Yellowish-white glaze on porcelain; with a slightly convex lip and recessed flat foot surrounded by a protruding convex footrim; carved on one main side with flowering orchids and on the other with a flowering rose bush, towards which a small

Glass, ink, and watercolours; with a concave lip and recessed, convex foot surrounded by a protruding rounded footrim; painted on one main side with a dog walking through a garden doorway with paulownia trees growing beyond and a flowering plant growing over the wall, the other main side inscribed with a poem in

Famille rose enamels on colourless glaze on porcelain; with a convex lip and recessed flat foot surrounded by a protruding flattened footrim; the slightly convex circular panel on each main side painted with waterside landscape scenes, one a winter scene in which two scholars, one holding a walking staff, cross a bridge towards a house beneath pines, a view through the window revealing a volume of books set on a desk inside, with a distant open pavilion on the far bank of the river beyond, the other a spring scene in which a scholar, also with a walking staff, crosses a bridge towards a fenced dwelling beneath trees, with paddy fields in the distance; the panels surrounded by a diaper design of interlocking fylfots (wan symbols); the

Famille-rose enamels on transparent glaze on porcelain; with a flat lip and no foot; the double gourd form painted with a formalized design repeated on each main side of flowers with an Indian lotus metamorphosing into a peach beneath another flower and a formalized shou (‘longevity’) character in seal script, three formalized flower heads on the narrow sides straddling the gap between the two main designs, all elements of the design outlined in gold in imitation of

Transparent chalcedony, ink, and watercolours; with a concave lip and recessed, slightly convex foot surrounded by a protruding convex footrim; the narrow sides carved with mask-and-ring handles; painted on one side with a scene of two children in a boat picking water caltrops in a lotus pond, inscribed in draft script with the title ‘Gathering Water Caltrops’, followed by ‘Painted by Xisan at

The tentative attribution to the palace and the suggestion of imperial provenance is based upon another similar bottle in white nephrite from the imperial collection that has a flared

Black, gold, iron-red, and lime-green enamel on colourless glaze on porcelain; with a flat lip and slightly convex rectangular foot; painted on each main side with a framed panel containing an imperial five-clawed dragon clutching a flaming pearl and surrounded by formalized clouds and flames, the panels surrounded by further clouds and flames,

Pale brown crystal, ink, and watercolours; with a slightly concave lip and a concave foot; painted on one main side with a young woman in a red gown talking with a young man in a garden setting, the other main side with two women in a study, one seated at a desk with an inkstone on it, applying a brush to a sheet of paper, while the other stands in front of the desk and looks on, a garden visible through two large square windows behind them, inscribed in draft script, ‘Executed

Glass, ink, and watercolours; with a concave lip and recessed, convex foot surrounded by a protruding, rounded footrim; painted on each main side with an illustration from the Liaozhai zhiyi (‘Strange Tales Recorded by the Studio of Idle Talk’), one showing Mr. Huang and Jiangxue reminiscing about Xiangyu in a garden setting with a naidong tree, a rocky outcrop, a bush of flowering peonies, a bamboo fence and another natural rock formation, inscribed in clerical script with the title ‘Xiangyu,’ the other main side showing the bridegroom (in 'The Bridegroom') being enticed by a ghost to go home with her, the two set on a plank bridge across a stream with a country residence behind them, with a torrent and distant trees, inscribed in clerical script with the title ‘The Bridegroom,’ followed in draft script by ‘Executed by Ye

Glass, ink, and watercolours; with a concave lip and a recessed convex foot surrounded by a protruding rounded footrim; painted on one main side with a herdboy riding a water buffalo in the shallows of a river, reaching for his straw hat, which has just been blown away by the wind, the other main side with a young woman at a circular window, drawing apart the curtains to look out on a young cypress tree, inscribed in draft script ‘Painted by Ye Zhongsan at the capital in the

Glass, ink, and vermilion watercolour; with a flat lip and a recessed convex foot surrounded by a protruding rounded footrim; painted on one main side with an ink portrait of Na Dong’a, the other main side inscribed in regular script with a poetic inscription preceded by the date ‘the tenth month of the