[zelbest]

NPM website http://www.npm.gov.tw
Ceramics:
Bowl in the shape of lotus

Ju ware, Sung dynasty (A.D. 960-1279)

Ju ware is one of the most renowned types of Chinese porcelain.

This bowl is in the shape of a ten-petaled lotus. Vessels shaped like lotus flowers or lotus petals grew in popularity with the arrival of Buddhism to China. Rising unsoiled from the mud, the lotus became a symbol of incorruptible honesty and purity, for which it was widely adopted as a motif on vessels of all kind. The shape of this bowl suggests a lotus flower in partial bloom. It is made with gentle and graceful lines, imparting an elegance and reserved beauty. The bowl probably formed a set with a handled hu pot and was used to warm wine. Such bowls were popular from the late T'ang to Sung dynasties.

The kilns of Ju-chou, where Ju ware originated, were commissioned to produce celadon ware for the court, replacing Ting porcelain as the favored imperial ware. Unlike Ting--which was fired upside down leaving the rim bare of glaze, Ju ware was fired on spurs so that the glaze covered the entire vessel. The fine spurs left marks resembling sesame seeds. Five of these "sesame spurs," as they were commonly known, are visible on the base of the piece here. Ju ware is also known for the fine crackle on the glaze surface, known as "crab claw markings."

This lotus-shaped warming bowl is a particularly rare specimen of Ju ware, esteemed for its classical form and warm opaque glaze.



Pillow in the shape of a recumbent child
Ting Ware
Sung Dynasty (A.D.960~1279)
Small porcelain headrests were fashionable during the Sung and Chin dynasties. The simplest of these pieces were rectangular, though many were made in the semblance of animals, such as tigers, and propitious objects, like the cloud-shaped ju-i scepter. This pillow, depicting a recumbent child, is a particularly complex form. During the Sung dynasty, the motif of infants was immensely popular. Among extant Sung porcelains, the themes of infants and children at play can be seen on northern celadon, ying-ching from the kilns at Ching-te-chen, the technically complex Tz'u-chou ware, and Ting ware, as in the present example.

Ting ware derives its name from Ting-chou, in present-day Ch'u-yang County, Hopei, where it was first produced. A white porcelain with transparent ivory-toned glaze, it is often decorated with incised, carved, or mold-impressed motifs representing a rich variety of subject matters. They are famed for their virtuosity of design, graceful lines, and dynamic quality.



This porcelain pillow is in the shape of a child lying on a bed. His wide-browed head is slightly raised above his plump body, supported on folded arms. His legs are bent and crossed, adding to his leisurely and carefree manner. In his right hand is a toy ball pierced by a silk cord, which is fastened by bows. The facial features of the child are convincingly portrayed and convey the innocence of youth. He wears a vest over a long gown, trousers, and cloth shoes. The vest has a medallion pattern on the front and a peony design on the back. The lower part of the robe is adorned with round floral print, while the sleeves are plain, suggesting that the garment was made from different materials. The open areas on the side of the base are impressed with dragon motifs. The bottom of the pillow is unglazed and inscribed with the verse of the Ch'ien-lung emperor.

This piece is one of three known pillows of the same shape. Two are in the National Palace Museum collection in Taipei and the other is preserved at the Palace Museum in Beijing. All three were made from molds and vary only slightly in decorative technique, patterns, positioning and size. In the facial features of the children depicted and the folds of their clothes, the three pieces are nearly identical, suggesting that they were modeled from the same prototype.

[zelbest]

Five-spouted vessel in emerald green glaze
Lung-ch’uan ware, Southern Sung (1127-1279) period
Height: 12.4 cm, top diameter: 13 cm, foot diameter: 7.2 cm

This broad short vessel has small round mouth that folds outward at the lip in a manner resembling a mushroom. The straight neck connects with the wide, oblique shoulder of the vessel. The lower part of the body collects slightly at the circular foot. Five rectilinear tubes rise from the neck and open into the main body of the piece. Petals have been carved into the sides of the body in the fashion of an upturned lotus flower. The thick emerald glaze is richly lined at the lower half of this piece, producing soft white "veins" at the raised edges of the lotus petals. The gray underbody, exposed at the foot, has turned a reddish-orange. Vessels resembling this exquisitely shaped piece have been recovered from a middle-period Southern Sung storage vault in Suining county, Szechwan province and from a Yuan dynasty boat that sank in the Shinhan Sea of Korea.

The glaze of Lung-chuan ware has been widely praised for its emerald greenish hue. In the Southern Sung period, production of Lung-chuan ware rapidly expanded to meet the demand of the officials and people in southern China and in response to government encouragement of foreign trade. Wares of this type were produced by large networks of kilns in eight counties neighboring modern-day Lungchuan and Lishui counties. Kilns in the coastal regions of Fukien province also turned out imitations in great volume. Lung-chuan wares could be found in Korea, Japan, the Ryukyu Islands, Southeast Asia, and even as far away as the eastern coast of Africa. With their dense ashen-white underbody, thick unctuous glaze, and tranquil reserve, these refined works recall the beauty of jade.

Some scholars conclude that multi-cylindered objects of this type served as candleholders, while others propose that they were used as flower vases. Their true function is in fact difficult to determine. Similar types of multi-necked vessel have been excavated from graves dating back to the Northern Sung period. In this context, they appear to have symbolized a "granary". Vessels of the type shown here may have derived their shape from such funerary antecedents, though their discovery in cellars and sunken boats indicates that they were used as objects of daily life.

Headrest in the shape of a ju-i scepter with brindled azure glaze
Ceramic, Chun ware, Yuan dynasty (A.D. 1279-1367)
Height: 13.4 cm, max. length (top): 30.8 cm, max. length (base): 28 cm, max. width (top): 19.7 cm, max. width (base): 19 cm

This ceramic headrest, hollow and thick-walled, is fired in the shape of a ju-i scepter and finished in an azure glaze with purplish amoebae-like spots.

Headrests of this type were produced as early as the Sui dynasty (589-618 A.D.). Serving both bedding and funerary functions, they are noted in Sung poetry for their cooling effect in the summer heat. They also were also presented as gifts of friendship exchanged among members of the literati.

The headrest shown here resembles a ju-i scepter in reduced form. The faintly azure glaze is intermingled with bluish-white streaks, in the fashion of Chun wares unearthed from Yuan dynasty tombs. This characteristic suggests the piece was contemporary with that period. The headrest also bears a strong Chun tone in the thickness and irregularity of the glaze, which is applied in several layers. Upon firing, the various chemical elements in the glaze fuse and run together, creating a brilliant and flawless kaleidoscope of blues and purples--a quality that has made Chun ware so highly esteemed. Here, the purplish-red spots on the bluish glaze were produced through the application of a copper-based material.

[zelbest]

Globular vase with dragon motif in underglaze blue
Ming Dynasty, Yung-lo period (A.D.1403~1425)

From textural accounts we know that Yung-lo underglaze blue is made from a blue cobalt material of foreign origin. Popularly known as "su-ni-po blue," it is distinguished by its permeating blue hue and vaporous, diffused quality. The glaze turns a deep blue when fired. Dark speckling occasionally occurs due to the permeability of the glaze, while the diffused colors of the glaze suggests the graceful charm of an ink painting. Distinguished by their natural and unrestrained style and impressive vigor, the pieces of this period laid the foundation for porcelains of this type in the Ming dynasty. Due to political and economic factors, underglaze blue porcelain served as gifts and traded commodities, with many destined for Arab regions of Central Asia. Catering to the Muslim tastes of these areas, they were often made with shapes or designs reflecting the influence of Islamic culture.

Due to the large globular shape of its belly, the piece shown here is known as a "t'ien-ch'iu" (celestial globe) vase. The rim of the vase mouth is decorated with a floral band motif. The main decorative motif on the body of the vessel is a p'an dragon vigorously depicted on a ground of Indian lotuses. The National Palace Museum has four such vases of identical shape, one of which has a ground of cloud decor. A similar piece is also preserved at the Topkapi Saray Museum in Turkey. It differs from the other four in that the dragon design is depicted in outline and set against a background pattern of surging blue waves. This technique is known as "reverse underglaze.


Cup in tou-ts'ai enamels with chicken motif
Ming Dynasty. Ch'eng-hua period (A.D.1465~1487)

Porcelain of the Ch'eng-hua (A.D. 1465-1487) period is noted for its fine body, unctuous glaze and the subtlety and finesse of its manufacture. Their underglaze blue decor, lightly and evenly applied, conveys a gentle beauty and charm unique from that of the more puissant works of earlier periods. The soft harmonious colors that characterize tou-ts'ai enamels were achieved by painting the outlines of motifs in underglaze blue before applying the enamels. Until the mid 1980s, this technique was believed to have originated in the Ch'eng-hua period. This view was overturned in 1984, when a pair of cups with lotus pond motifs in tou-ts'ai enamels from the Hsuan-te period (A.D. 1426-1435) was discovered at a Tibetan temple. A subsequent discovery of plate shards with tou-ts'ai enamels from an archeological site at Chu-shan confirmed that this technique was in fact developed as early as the Hsuan-te period.

The cup shown here has a slightly exaggerated mouth and short walls. Due to the subject matter of its design, it is called a chicken cup. The outer wall is decorated with two scenes of chickens, each separated by a design of flowers and naturally sculpted rocks. In one scene, a c**k stands in the foreground with his head high in a defensive position. Behind him is a hen with head bent foraging for food. Three chicks surround their mother with mouths agape and wings spread, as if crying for a bite to eat. The other panel depicts a similar arrangement, only here the hen is flapping her wings with head low struggling to bring down her prey. A chick urges its mother on and stands ready to enter the fray. The c**k stands with head suddenly turned, apparently distracted from his watch by the combative antics of the hen, and with self-evident concern for his mate. Meanwhile, the other two chicks play happily in the flowering shrubs. The designs are dyed in red, yellow, brown, and green enamel applied over the glaze, with two colors layered in some areas. The skillful arrangement vividly depicts the scene of a happy family.

On the recessed foot of the cup is an inscription in underglaze blue reading: "Made in the Ch'eng-hua reign of the Ming dynasty." The inscription is set in a double frame. The uniformity of successive reign marks of the Ch'eng-hua emperor serves as an important basis for determining the authenticity of ceramic works.

[zelbest]

Monk's hat ewer with red glaze
Ceramic, Hsuan-te period (1426-1435), Ming Dynasty
H: 19.2 cm
Mouth diameter (L)16.1 cm
Mouth diameter (W): 11.2 cm
Foot diameter: 7.6 cm

This ewer is named after its three-tiered mouth, which resembles the hat of a Buddhist monk.

The exterior of the vessel is coated in a bright red glaze with pinprick air pockets, producing an orange peel texture. The edges of the mouth, foot, and cap are cornered and white, and the interior and base are glazed in translucent green. The fine white ceramic of the underlying form, as seen at the exposed foot, is smooth, meticulously crafted, and of even consistency, with traces of iron. There is no seal on the vessel, though the base is inscribed with a poem by the Ch’ien-lung emperor.

The earliest known monk's hat ewers date back to the Yuan dynasty (A.D. 1279-1367). The white "rush" edging on the mouth, foot and angled sides was common on red-glazed vessels of from the Hsuan-te period. These pieces were prized by the Ching emperors and their consorts. One such vessel is portrayed on a cabinet beside a concubine of the Yung-cheng emperor in the renowned Ching painting, "Concubine Yin Chen Indulging in Pleasure". (Liao Pao-hsiu)

Teapot with landscape in blue enamel
Ch'ing Dynasty, Yung-cheng period (A.D.1723~1735 )

The use of enamel colors on porcelain was pioneered in the K'ang-hsi reign (A.D. 1662-1722). Decoratively spare, such pieces were based on enameled copper wares. In the sixth year of the Yung-cheng reign (A.D. 1728), China began to indigenously produce enamel materials, ending its dependence on imported sources. Due to their unique qualities, these materials could be used to produce an infinite range of decorative effects on porcelain wares. In addition to flowers and birds, human figures, and landscapes, sections of a composition could be intentionally left open for the placement of verse and seals, imparting the piece with the charm of "poetry, calligraphy, and painting."

The open space on the lid and body of this pot is richly decorated in colorful floral designs known as "hundred flower ground." Decorative designs of this type were fashionable in Europe at the time that this piece was made. The two open rectangular areas on the body of the pot depict a landscape in blue enamel. The scene is composed of gracefully towering mountains, houses amidst the woods, foot bridges and flowing water, all depicted in exquisite detail. On open spaces of the two scenes are inscriptions in elegant running script --"The woods hug the nearby southern peaks" and "The mist contains the distant northern isles"--and the red seals "shan-kao" and "shui-chang." The inscriptions seem, from appearance alone, to describe an ink landscape painting. Yet if we do not make distinctions based on medium, we may also in fact consider it an ink painting, especially since it is without question the work of court artists.

The enameled porcelains made during the Yung-cheng reign (A.D. 1723-1735) are meticulously wrought and painted with elegant and refined decor. The lush and vibrant floral ground on this piece accentuates the tranquility and simple elegance of the blue landscapes. Creating a visual impression of "peace obtained within commotion," this piece seems to expound on the aesthetic of simplicity overcoming complexity. On the underside there is a four-character Yung-cheng reign-mark in blue Sung script.

[zelbest]

Plate with Dragon and Phoenix Motif in "Wu-ts'ai" Enamels
Ming Dynasty, Wan-li period (1573-1620)
Ceramic; height, 4.6 cm; rim diameter, 30.3 cm; foot diameter: 20.3 cm

This plate has an exaggerated mouth and a narrow lip. The short round base is thin and coated in a pure white glaze. The design is a combination of underglaze blue patterns and low-temperature colors painted on top of the glaze.

In the Wan-li period of the Ming dynasty, the imperial kilns were prolific producers of ceramics in "wu-ts'ai (five-color)" enamels. These works were generally adorned with didactic or propitious motifs and other "light" subject matters. A single composition would comprise several spaces and motifs were delineated by frames of various shapes. The designs were often densely positioned, leaving little intervening space. The juxtaposition of so many motifs created splendid and lively compositions, making these pieces objects of enduring fascination. Patterns of the same style were also depicted on lacquerware and textiles of this period. Upon scrutiny of the piece here, one can discover that the painter was somewhat careless in the brushwork. Brush lines extend beyond the tips and the colors spill over the outlines, attesting to a decline in management and craftsmanship due to the high volume of production at the kilns.

The main design of the plate pictured here is of a pair of dragons and phoenixes on a floral ground. The animals are depicted as formalized outlines. The reserved hooks on the winding stems of the Indian lotuses were also drawn in outline and then painted. The brushwork is somewhat weak and clumsy, as if done in mechanical imitation without much thought. Nonetheless, the piece strives to remain faithful to the original official style: the body is thin and pure white, the glaze has a brilliant shine, and the pigments are of even consistency. The intricate and diverse designs, profusion of color, and the delicate staining are characteristic of these pieces and became traits that intrigued the people of this time.


Large plate with openwork rings and floral design in famille rose
Porcelain, Ch'ien-lung period (1736-1795), Ch'ing dynasty
Height: 9 cm
Rim diameter: 38.7 cm
Base diameter: 19.6 cm

This plate has a broad surface with a slightly arced inner section and an rim. Along the middle of the rim are connected openwork rings with diameters of 1.5 cm. The rings are edged in gold and set against a floral ground. The edge where the rim and inner section of the plate meet is painted in an alum red pattern. The design at the center of the plate is a grid of tapered rows of checks, with each check composed of triangles in up to three of five colors. Though at first glance the colors seem to be randomly arranged, they in fact create a symmetrical pattern from left to right.

The checkered pattern is framed in a connected leaf design and surrounded by eight similar grids of smaller scale. The outer section of the plate is divided into four-layer floral designs. All of the gold lines on the plate are bordered in alum red, while the remaining sections are outlined in yellow.

This piece is affixed with a red seal-script mark identifying it as a product of the Chien-lung period. It is believed to have been fired especially for the Chien-lung emperor after he had abdicated the throne but while he was still using the imperial mark. During this transitional period, the Chien-lung reign mark was used on objects presented to the retired emperor, while the Chia-ching mark was affixed to tributes made to the Chia-ching emperor. For this reason, the two reign marks are found on objects of similar shape, color, and style.

[General_Zhaoyun]

Wow.. this is really a nice exhibits of chinese treasures :D

[Tyler]

Very nice treasures. They are all so pretty. Do you have anymore you can share zelbest?

[zelbest]

ill start posting the jade collection as soon as i get off school tommrow.

[zelbest]

Kuei tablet
Late Neolithic Age (Ca.2500~1600B.C.)

Jade kuei tablets, like the one shown here, were ritual objects whose shape derived from an early tool and weapon. The tablets are of a narrow rectangular shape with a level blade on one end, in the manner of its shovel prototype. The midsection of both faces is carved in an elaborate design. One side is the relief depiction of an eagle ascending with ferocious vigor. On the other face is an abstract mask design, also in relief, with a peaked crest rising prominently from the center and a splendid profusion of phoenix feathers projecting from either side. The entire design is done with gracefully flowing lines. From several written accounts, we know that the eagle was an important symbol of worship in the Eastern Yi tribal group of Eastern China. During high antiquity, the Eastern Yi believed that their first ancestors were born from a supreme god, who ruled over the lesser nature deities. According to this faith, a "mystical bird" served as the messenger or medium of the life force from heaven, giving rise to the myth that people were born of birds. The kuei tablet here is carved with a realistic portrayal of an eagle and an abstract phoenix design. They seem to convey some important message whose meaning is worthy of further study. Another notable feature is a human head carved in silhouette on an area of about one square centimeter on one of the lateral faces of the tablet.

The figure is elaborately depicted with a hull-shaped hat, curling shocks of long hair, eye, ear, and nostril all shown in exceptional detail. The upper and lower sections of the tablet were carved during the Ch'ien-lung reign (A.D. 1736-1795) with verse by the emperor and the imperial seal. Interestingly, the additions were carved upside down with respect to the designs, causing frequent misunderstanding.

Ts'ung tube
Late Neolithic Age (Ca.3300~2200 B.C.)

Jade ts'ung tubes are one of the principal ritual objects of the late Neolithic period. Its basic shape is a square cylinder with a large round bore piercing its length. The square outer shape of the ts'ung derives from the ancient universal concept of the "square earth," whereas the round central bore is thought to have symbolized a channel of communication between the mortal and celestial worlds.



Late Neolithic ts'ung from eastern China are often carved with mask patterns representing deities, ancestors and divine animals. These motifs range from the simple to the ornate. This ts'ung from the National Palace Museum collection is carved with 17 vertical sections. Each of the sections has four highly schematized and simple mask designs. The masks spread outward from each of the nearly 90-degree corners. The crest of the mask is depicted by two long parallel bands running horizontally, while a short horizontal band describes the nose. The eyes are depicted as shallow rings, though the small circles depicting the pupils have become indistinct with time and wear.



One of the most notable features of this ts'ung are the symbols concealed at the top. From their manner of expression, we know that these markings served no adornment function, since their lines are shallow, fine, and intermittent. Unless carefully looked for, they could easily go unnoticed. From this we may conjecture that the markings were probably a kind of "cipher," used by shamans to aid their communication with the gods. Two of the four markings have become barely discernable with age.

[zelbest]

Jadeite Cabbage with Insects
Ch'ing dynasty (1644-1911)
Length: 18.7 cm, width: 9.1 cm, thickness: 5.07 cm

Jade has always been one of the most valued materials in China. However, the manufacture of jade objects required a considerable amount of time and effort. Consequently, how to apply the least effort to achieve the greatest effect is one of the guiding principles in designing a work of jade. One artistic approach derived from such a consideration is "suiting the features to the material". In other words, this approach allowed artisans to adopt the natural features of the original material, such as the shape or colors, to achieve the desired effect, thereby saving time and effort. Making the most of limitations while obtaining a balance between the natural features and manmade effects are keys to the success of this principle. This carving from the National Palace Museum collection is a superb example. The naturally occurring white and green parts of a piece of jadeite, a glossy mineral known for its striking colors and popular in later Chinese crafts, were transformed into the lively forms of the leaves and stalks of a bok-choy cabbage along with a katydid and a locust lingering among the leaves.

This piece was originally kept in the Yung-ho Palace, residence of Consort Chin in the late Ch'ing dynasty. It is said to part of her dowry. Bok-choy cabbage is a metaphor for purity, symbolizing the purity of the bride. These insects, known for their ability to reproduce, are symbolic of fertility, a blessing for the newly wed lady to have many sons. Endowed with material significance, splendid craftsmanship, and symbolically auspicious overtones, this piece expresses the aesthetic harmony of these three elements, making it all the more treasured.

Bird-shaped pendant
Jade Shang dynasty (ca. 1800-1100 B.C.)
Height: 11.35cm Width: 5cm Thickness: 0.3cm

This pendant, carved from an ocher jade material with large grayish-white sections, depicts the profile of an owl in openwork and low relief. A dragon stands above the bird, its head disproportionately larger than its body. The eyes of the dragon and bird resemble the character ch'en (courtier) in a script characteristic of the late Shang period (ca. 14th to 11th centuries B.C.). A tenon protrudes from the claws of the owl, suggesting that the piece was inserted into an object made of perishable material. From documentary records, we know that during ancient ceremonies, ritualistic dances and songs were often performed by celebrants holding a staff adorned with a jade finial. This bird-shaped pendant may have originally served as the finial of one of these "jade staffs."

The dragon and bird were divine animals to the ancient people of China. According to mythological accounts, the Eastern Yi clan believed that their first ancestors descended from a mystical bird sent to the world by the supreme god, Shang-ti. The jades of the Eastern Yi are thus often carved with the designs of mystical birds, including the phoenix, eagle, owl, and swallow. The Shang ruling house was itself a member of the Eastern Yi. This bird-shaped pendant, now preserved at the National Palace Museum, was most likely an adornment owned by a member of the Shang nobility. Elaborately embellished, it served both as a symbol of wealth and social status, and to indicate that the wearer was endowed with the gifts of the divine animal represented.

[Tyler]

Ah very nice I look forward to reading more.

[chillinster]

Interesting news about Ju ware. I just joined this site and trying to do some R&D for a Diver friend of mine. What do you think of this item? Is this a Ju Ware? How can i get it verified, has anyone got their pieces identified by Oxford Authentication before. Are they any good?

[chillinster]

Also I would like to ask whether anyone can translate whats the meaning on this vase. Thanks.
PS: Someone told me it means "CHING DYNASTY HAPPY FOREVER" can someone confirm this.

Thanks..

[chillinster]

Also what does the chinese character means at the top of the hand. We checked the material, its not jade but some other thing

[chillinster]

Sorry to post so much within such a short period. The owner of this item would like to donate/barter this item to the Chinese Government (its made of nephrite jade and its 13.8kg), for a fully loaded research vessel or ship can be considered, as we have a lot of sunken vessels to explore.

Do the Chinese Government provide Research Grants for their lost National Treasures. Does anyone know who is the point of contact for the China Govt?