Contents Yaozhou Wares From Museums and Art Institutes Around the World: Including Yaozhou Tribute Wares Rose Kerr
© 2021 ACC Art Books Ltd
6
About the Author
15
Image Credits
16
1 Tang dynasty
18
2 Ewers
30
3 Five Dynasties to Early Northern Song dynasty
48
4 Figures and 3-D models
66
5 Pillows
80
6 Bowl stands
86
7 Bowls with lotus petal exteriors
90
8 Bowls with chrysanthemum decoration
94
9 Bowls with peony decoration
100
10 Bowls with flower decoration
116
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without written permission of the publishers.
11 Bowls with scrolling baoxiang decoration
122
12 Bowls with decoration of small boys
132
13 Bowls with duck decoration
140
14 Bowls with fish decoration
148
The author and publisher gratefully acknowledge the permission granted to reproduce the images in this book. Credits of image were listed as requested.
15 Bowls with brown and black glazes
156
16 Bowls with lotus decoration
164
17 Bowls, Jin dynasty
172
Catalogue by Rose Kerr
18 Bottles and vases
180
19 Jars
198
20 Cups with flange and thumb ring
214
21 Dishes
218
22 Cencers
244
23 Boxes
260
24 Spitoons or slops vessels
268
25 Kundikas
274
26 Alms bowls
278
ISBN 978-1-78884-177-1
Design and Production by CA Book Publishing Rosanne Chan and James Tong
Printed in Hong Kong, 2021 Published by ACC Arts Books Ltd Woodbridge, Suffold, IP12 4SD, UK www.accartbooks.com
P. 4
FINAL ROUND (April 16)
Bibliography
286
Chronology
287
P. 5
FINAL ROUND (April 16)
Contents Yaozhou Wares From Museums and Art Institutes Around the World: Including Yaozhou Tribute Wares Rose Kerr
© 2021 ACC Art Books Ltd
6
About the Author
15
Image Credits
16
1 Tang dynasty
18
2 Ewers
30
3 Five Dynasties to Early Northern Song dynasty
48
4 Figures and 3-D models
66
5 Pillows
80
6 Bowl stands
86
7 Bowls with lotus petal exteriors
90
8 Bowls with chrysanthemum decoration
94
9 Bowls with peony decoration
100
10 Bowls with flower decoration
116
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without written permission of the publishers.
11 Bowls with scrolling baoxiang decoration
122
12 Bowls with decoration of small boys
132
13 Bowls with duck decoration
140
14 Bowls with fish decoration
148
The author and publisher gratefully acknowledge the permission granted to reproduce the images in this book. Credits of image were listed as requested.
15 Bowls with brown and black glazes
156
16 Bowls with lotus decoration
164
17 Bowls, Jin dynasty
172
Catalogue by Rose Kerr
18 Bottles and vases
180
19 Jars
198
20 Cups with flange and thumb ring
214
21 Dishes
218
22 Cencers
244
23 Boxes
260
24 Spitoons or slops vessels
268
25 Kundikas
274
26 Alms bowls
278
ISBN 978-1-78884-177-1
Design and Production by CA Book Publishing Rosanne Chan and James Tong
Printed in Hong Kong, 2021 Published by ACC Arts Books Ltd Woodbridge, Suffold, IP12 4SD, UK www.accartbooks.com
P. 4
FINAL ROUND (April 16)
Bibliography
286
Chronology
287
P. 5
FINAL ROUND (April 16)
Yaozhou Wares From Museums and Art Institutes Around the World: Including Yaozhou Tribute Wares
wares, often with different coloured glazes inside and out. Slip-painted decoration in brown and black was not uncommon. The Tang dynasty kilns at Huangbao were excavated between 1984 and 1990 by archaeologists Du Baoren and Zhuo Zhenxi and their illustrated findings published in two volumes.7 This detailed report revealed that the Tang dynasty stratum was thick, and therefore covered a sustained period of activity. A major product was lead-glazed sancai earthenwares, for which the Tang dynasty is famous. But in addition, Huangbao workshops and kilns also manufactured high-fired stonewares with celadon, white, yellow, teadust and black glazes. Wares were made in workshops that were either caves dug into cliffs along local rivers, or in the open air at some distance away, depending on function. For clay preparation, modelling and glazing water was needed, whereas clay and fuel stores did not. Kilns were located close to workshops. Excavation revealed that both kilns and workshops were compact, the smaller being worked by one-two people, the larger occupying between three and five artisans. This small scale strongly suggested that ceramic production was a family business. Moreover, both forming and firing demonstrated demarcation of labour, both in processes of manufacture and in type of ware. For example, some areas specialised in the production and firing of black-glazed wares with underglaze white floral designs, like the ewer with dragon spout in the collection. The process for carrying out the decoration was as follows. First the ceramic body was incised with a sharp blade and the outlines filled with white slip so that the design stood proud. Then iron-rich black glaze was applied and the piece was fired. In the process of firing the glaze ran thin over the raised white pattern, so that it showed clearly through the black glaze in sharp contrast. Several ewer and jar sherds decorated in this manner were excavated at Huangbao.8
Rose Kerr
Describing Yaozhou Wares During the Five Dynasties, Song, Jin and Yuan periods many kilns in China made green-glazed wares. Such wares are called celadon in English. Celadon is the name of a color, one that ranges from light green through bluish-green to greyish-green and even brownish-green. In other words, it covers many different, subtle shades of green in the same manner as the Chinese character 青 qing . The English word celadon derives from a French stage play of the seventeenth century. In the play was a young shepherd boy called Céladon, who wore ribbons on his sleeves that were misty green in color. That color became very fashionable in France, where people wore clothes in “Céladon” color and decorated their houses with paint and furnishings in celadon green.1 Imported Chinese ceramics in celadon green were also very popular. However, these were contemporary porcelains from Jingdezhen and not Song dynasty wares. In spite of that, today the term celadon is widely used in the West to describe Song dynasty ceramics such as Yaozhou.2 I shall use the word in this essay because it best describes the various, elusive, glaze colors of Yaozhou ware.
The Supremacy of Tenth Century Yaozhou Ware
Yaozhou ware is one of the finest Song dynasty celadons. In Western literature, Yaozhou was often called “northern celadon ware” because it was made in Shaanxi province in northern China. It is also described as a stoneware and here another linguistic problem arises. In modern English language, ceramics can be categorized by their body material as being either earthenware, stoneware, or porcelain. Stoneware has been described as a hard, strong and vitrified ware, fired above 1,200oC, in which the body and glaze mature to form an integrated body-glaze layer.3 There are two problems, however, in this description. The first is a technological consideration, the second a linguistic dilemma.
With the coming of the Five Dynasties period the variety of wares made at Yaozhou became more restricted, with celadons emerging as the chief product. Previously understood to have enjoyed their heyday in the Song and Jin dynasties, with a few coarser examples occurring in the Yuan, recent archaeological discovery linked with scientific investigation has revealed the importance and unique quality of tenth century ceramics from Yaozhou. In fact, the last twenty years have seen more study and understanding of these tenth century wares, made during the Five Dynasties Period (907-960) and early Northern Song dynasty (960-circa 1000).9
In the first place, many stonewares in China (particularly in the north) fall into the “earthenware” porosity range, because of the refractoriness of their raw materials.4 For most (but not all) Chinese wares the deciding difference between earthenware and stoneware can only be marked by the significant development of mullite crystals in their ceramic body. This is a factor that can only be determined by microscopy, and not by the naked eye. In linguistic terms also, Chinese criteria for porcelain, stoneware and earthenware differ from the tripartite system delineated above. Etymologically speaking, modern Chinese language divides ceramics into only two types, tao 陶 and ci 瓷 . The lower-fired tao material corresponds to English earthenware and some categories of stoneware, whereas high-fired ci equates to both stoneware and porcelain. In translations from Chinese into Western languages, one may thus encounter material that we would regard as stoneware, described as “porcelain”. In Chinese publications many ceramics, including Yaozhou ware, are simply described as ci.5
Locating Tang Dynasty Yaozhou Ware
1
Term discussed in Rose Kerr, 1986, 1998, p.83.
2
For example, the noted author G.St.G.M. Gompertz published a book called Chinese Celadon Wares in 1958, that was reprinted in a revised edition in 1980. The volumes discussed green-glazed ceramics from the Warring States period down to the Qing dynasty, and included Yue, Ru, Guan, Longquan and Yaozhou wares.
3
Frank Hamer and Janet Hamer, 1975,1997, p.285.
4
Porosity is a vague term if a distinction is not made between “open” and “closed” porosity (also called “apparent” and “true” porosity). Many Chinese stonewares have percentage water absorption greater than 5%. For example Ru ware 汝窯 19.3%; Jun ware 鈞窯 10.7%; Linru wares 臨汝窯 up to 8%.
The Yaozhou kilns were located at Yaozhou, an area that corresponds to today’s Tongchuan county. Within Yaozhou, the two most important kiln sites were Huangbao and Chenlu. Five other minor kiln sites in the region have so far been excavated, operating at different times between the Tang and Qing dynasties.6 Yaozhou potters were active during the Tang dynasty (618-906), manufacturing a wide range of ceramics that included lead-glazed roof tiles, sancai wares, celadons, whitewares, blackwares and teadust coloured
5
6
The tenth century saw a revolution in bodies, decorations and glazes, all three of which were markedly different to ninth century Tang dynasty wares. Thus bodies were thinly potted and white in colour, while decorations varied from deep carving and undercutting to delicate incising. Glazes took on refined bluishgreen or greyish-green tones, comparable to the best quality contemporary Yue ware from Zhejiang province, and to later and much-admired Goryeo dynasty celadons from Korea.10 For a short time in the tenth century Yaozhou kilns produced ceramics unmatched for quality of body and glaze, both subsequently at Yaozhou, and at other Chinese kilns. Later Northern Song dynasty imperial Ru ware sought a similar, elusive blue tone in celadons, as did the best of the Southern Song Guan and Longquan wares. It is curious that the Five Dynasties period should have produced such exceptional products, for it was a turbulent era, marred by political division and (in the north) almost incessant warfare. Eventually the army came to dominate the empire, and so unpleasant were the memories of that martial era that the succeeding Song dynasty emperors employed a strategy called “esteeming the civil and slighting the military” whose purpose was to end the dominance of generals at court and in local government.
7
See Shaanxi Institute of Archaeology, 1992.
The terminology is described and discussed in Rose Kerr and Nigel Wood, 2004, pp.9-12.
8
Ibid., vol.2, pl.65, nos.1-6.
9
Rose Kerr, 2010, pp.118-125.
Zhuo Zhenxi, 2014.
10
Zhuo Zhenxi and Du Wenzhu, 2000, p.22.
Yaozhou glazes of the tenth century display an exceptional bluish tone due to their low titania content. This was achieved by including little or no body clay in the glaze mixture. When low-titania compositions were used with celadon glazes fired in reduction, the natural bluish colours of Fe2+ and Fe3+ ionic mixtures could be maximised, without being discoloured by the yellowing influence of titanium dioxide. Such a beautiful colour can be seen to good effect on the best wares, whose decoration employ processes that originated in the Five Dynasties and gained in skill during the early Northern Song, namely deep carving combined with detailed incising. This technique and its ensuing visual effect simulates precious metal, and is unique to Yaozhou wares. It became the mainstay of the kilns, particularly in the freehand
6
7
P. 6
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P. 7
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Yaozhou Wares From Museums and Art Institutes Around the World: Including Yaozhou Tribute Wares
wares, often with different coloured glazes inside and out. Slip-painted decoration in brown and black was not uncommon. The Tang dynasty kilns at Huangbao were excavated between 1984 and 1990 by archaeologists Du Baoren and Zhuo Zhenxi and their illustrated findings published in two volumes.7 This detailed report revealed that the Tang dynasty stratum was thick, and therefore covered a sustained period of activity. A major product was lead-glazed sancai earthenwares, for which the Tang dynasty is famous. But in addition, Huangbao workshops and kilns also manufactured high-fired stonewares with celadon, white, yellow, teadust and black glazes. Wares were made in workshops that were either caves dug into cliffs along local rivers, or in the open air at some distance away, depending on function. For clay preparation, modelling and glazing water was needed, whereas clay and fuel stores did not. Kilns were located close to workshops. Excavation revealed that both kilns and workshops were compact, the smaller being worked by one-two people, the larger occupying between three and five artisans. This small scale strongly suggested that ceramic production was a family business. Moreover, both forming and firing demonstrated demarcation of labour, both in processes of manufacture and in type of ware. For example, some areas specialised in the production and firing of black-glazed wares with underglaze white floral designs, like the ewer with dragon spout in the collection. The process for carrying out the decoration was as follows. First the ceramic body was incised with a sharp blade and the outlines filled with white slip so that the design stood proud. Then iron-rich black glaze was applied and the piece was fired. In the process of firing the glaze ran thin over the raised white pattern, so that it showed clearly through the black glaze in sharp contrast. Several ewer and jar sherds decorated in this manner were excavated at Huangbao.8
Rose Kerr
Describing Yaozhou Wares During the Five Dynasties, Song, Jin and Yuan periods many kilns in China made green-glazed wares. Such wares are called celadon in English. Celadon is the name of a color, one that ranges from light green through bluish-green to greyish-green and even brownish-green. In other words, it covers many different, subtle shades of green in the same manner as the Chinese character 青 qing . The English word celadon derives from a French stage play of the seventeenth century. In the play was a young shepherd boy called Céladon, who wore ribbons on his sleeves that were misty green in color. That color became very fashionable in France, where people wore clothes in “Céladon” color and decorated their houses with paint and furnishings in celadon green.1 Imported Chinese ceramics in celadon green were also very popular. However, these were contemporary porcelains from Jingdezhen and not Song dynasty wares. In spite of that, today the term celadon is widely used in the West to describe Song dynasty ceramics such as Yaozhou.2 I shall use the word in this essay because it best describes the various, elusive, glaze colors of Yaozhou ware.
The Supremacy of Tenth Century Yaozhou Ware
Yaozhou ware is one of the finest Song dynasty celadons. In Western literature, Yaozhou was often called “northern celadon ware” because it was made in Shaanxi province in northern China. It is also described as a stoneware and here another linguistic problem arises. In modern English language, ceramics can be categorized by their body material as being either earthenware, stoneware, or porcelain. Stoneware has been described as a hard, strong and vitrified ware, fired above 1,200oC, in which the body and glaze mature to form an integrated body-glaze layer.3 There are two problems, however, in this description. The first is a technological consideration, the second a linguistic dilemma.
With the coming of the Five Dynasties period the variety of wares made at Yaozhou became more restricted, with celadons emerging as the chief product. Previously understood to have enjoyed their heyday in the Song and Jin dynasties, with a few coarser examples occurring in the Yuan, recent archaeological discovery linked with scientific investigation has revealed the importance and unique quality of tenth century ceramics from Yaozhou. In fact, the last twenty years have seen more study and understanding of these tenth century wares, made during the Five Dynasties Period (907-960) and early Northern Song dynasty (960-circa 1000).9
In the first place, many stonewares in China (particularly in the north) fall into the “earthenware” porosity range, because of the refractoriness of their raw materials.4 For most (but not all) Chinese wares the deciding difference between earthenware and stoneware can only be marked by the significant development of mullite crystals in their ceramic body. This is a factor that can only be determined by microscopy, and not by the naked eye. In linguistic terms also, Chinese criteria for porcelain, stoneware and earthenware differ from the tripartite system delineated above. Etymologically speaking, modern Chinese language divides ceramics into only two types, tao 陶 and ci 瓷 . The lower-fired tao material corresponds to English earthenware and some categories of stoneware, whereas high-fired ci equates to both stoneware and porcelain. In translations from Chinese into Western languages, one may thus encounter material that we would regard as stoneware, described as “porcelain”. In Chinese publications many ceramics, including Yaozhou ware, are simply described as ci.5
Locating Tang Dynasty Yaozhou Ware
1
Term discussed in Rose Kerr, 1986, 1998, p.83.
2
For example, the noted author G.St.G.M. Gompertz published a book called Chinese Celadon Wares in 1958, that was reprinted in a revised edition in 1980. The volumes discussed green-glazed ceramics from the Warring States period down to the Qing dynasty, and included Yue, Ru, Guan, Longquan and Yaozhou wares.
3
Frank Hamer and Janet Hamer, 1975,1997, p.285.
4
Porosity is a vague term if a distinction is not made between “open” and “closed” porosity (also called “apparent” and “true” porosity). Many Chinese stonewares have percentage water absorption greater than 5%. For example Ru ware 汝窯 19.3%; Jun ware 鈞窯 10.7%; Linru wares 臨汝窯 up to 8%.
The Yaozhou kilns were located at Yaozhou, an area that corresponds to today’s Tongchuan county. Within Yaozhou, the two most important kiln sites were Huangbao and Chenlu. Five other minor kiln sites in the region have so far been excavated, operating at different times between the Tang and Qing dynasties.6 Yaozhou potters were active during the Tang dynasty (618-906), manufacturing a wide range of ceramics that included lead-glazed roof tiles, sancai wares, celadons, whitewares, blackwares and teadust coloured
5
6
The tenth century saw a revolution in bodies, decorations and glazes, all three of which were markedly different to ninth century Tang dynasty wares. Thus bodies were thinly potted and white in colour, while decorations varied from deep carving and undercutting to delicate incising. Glazes took on refined bluishgreen or greyish-green tones, comparable to the best quality contemporary Yue ware from Zhejiang province, and to later and much-admired Goryeo dynasty celadons from Korea.10 For a short time in the tenth century Yaozhou kilns produced ceramics unmatched for quality of body and glaze, both subsequently at Yaozhou, and at other Chinese kilns. Later Northern Song dynasty imperial Ru ware sought a similar, elusive blue tone in celadons, as did the best of the Southern Song Guan and Longquan wares. It is curious that the Five Dynasties period should have produced such exceptional products, for it was a turbulent era, marred by political division and (in the north) almost incessant warfare. Eventually the army came to dominate the empire, and so unpleasant were the memories of that martial era that the succeeding Song dynasty emperors employed a strategy called “esteeming the civil and slighting the military” whose purpose was to end the dominance of generals at court and in local government.
7
See Shaanxi Institute of Archaeology, 1992.
The terminology is described and discussed in Rose Kerr and Nigel Wood, 2004, pp.9-12.
8
Ibid., vol.2, pl.65, nos.1-6.
9
Rose Kerr, 2010, pp.118-125.
Zhuo Zhenxi, 2014.
10
Zhuo Zhenxi and Du Wenzhu, 2000, p.22.
Yaozhou glazes of the tenth century display an exceptional bluish tone due to their low titania content. This was achieved by including little or no body clay in the glaze mixture. When low-titania compositions were used with celadon glazes fired in reduction, the natural bluish colours of Fe2+ and Fe3+ ionic mixtures could be maximised, without being discoloured by the yellowing influence of titanium dioxide. Such a beautiful colour can be seen to good effect on the best wares, whose decoration employ processes that originated in the Five Dynasties and gained in skill during the early Northern Song, namely deep carving combined with detailed incising. This technique and its ensuing visual effect simulates precious metal, and is unique to Yaozhou wares. It became the mainstay of the kilns, particularly in the freehand
6
7
P. 6
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3 · Horse, earthenware with sancai glaze
5 · Jar in the shape of a stupa Tang dynasty, 8th – 9th century H: 51.5 cm
Tang dynasty, 8th century W: 17.4 x 13.2 cm, H: 38.6 cm
Yaozhou Kiln Wares Museum Photography by Duan Fang
Yaozhou Kiln Wares Museum Photography by Duan Fang
4 · Architectural ceramic in form of a dragon’s head, earthenware with sancai glaze Tang dynasty, 8th century W: 24 x 13.5 cm, H: 17.5 cm Yaozhou Kiln Wares Museum Photography by Duan Fang
22
23
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3 · Horse, earthenware with sancai glaze
5 · Jar in the shape of a stupa Tang dynasty, 8th – 9th century H: 51.5 cm
Tang dynasty, 8th century W: 17.4 x 13.2 cm, H: 38.6 cm
Yaozhou Kiln Wares Museum Photography by Duan Fang
Yaozhou Kiln Wares Museum Photography by Duan Fang
4 · Architectural ceramic in form of a dragon’s head, earthenware with sancai glaze Tang dynasty, 8th century W: 24 x 13.5 cm, H: 17.5 cm Yaozhou Kiln Wares Museum Photography by Duan Fang
22
23
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25 · Ewer with carved design and phoenix spout
27 · Ewer with carved design and double phoenix spout Five dynasties – early Northern Song dynasty H: 18.3 cm
Five dynasties – early Northern Song dynasty H: 21 cm
Musée Guimet ©MNAAG, Paris, Dist. RMN-Grand Palais / Thierry Ollivier G5119
Shaanxi History Museum
26 · Carved ewer with lion-shaped spout Five dynasties – early Northern Song dynasty H: 18.3 cm The Cleveland Museum of Art Purchase from the J. H. Wade Fund 1948.220
36
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25 · Ewer with carved design and phoenix spout
27 · Ewer with carved design and double phoenix spout Five dynasties – early Northern Song dynasty H: 18.3 cm
Five dynasties – early Northern Song dynasty H: 21 cm
Musée Guimet ©MNAAG, Paris, Dist. RMN-Grand Palais / Thierry Ollivier G5119
Shaanxi History Museum
26 · Carved ewer with lion-shaped spout Five dynasties – early Northern Song dynasty H: 18.3 cm The Cleveland Museum of Art Purchase from the J. H. Wade Fund 1948.220
36
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148 · Bowl
151 · Bowl
Jin dynasty D: 13.7 cm, H: 5.3 cm
Jin dynasty D: 13.4 cm, H: 5.4 cm
The Art Institute of Chicago Bequest of Henry C. Schwab 1941.606
Asian Art Museum of San Francisco The Avery Brundage Collection B60P1418
149 · Bowl Jin dynasty D: 13.6 cm, H: 5.7 cm Durham University Museum Gift from the Rt Hon Malcolm MacDonald DUROM. 1969.119
150 · Two bowls Jin dynasty D: 13.8 cm Zhejiang Museum
118
119
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148 · Bowl
151 · Bowl
Jin dynasty D: 13.7 cm, H: 5.3 cm
Jin dynasty D: 13.4 cm, H: 5.4 cm
The Art Institute of Chicago Bequest of Henry C. Schwab 1941.606
Asian Art Museum of San Francisco The Avery Brundage Collection B60P1418
149 · Bowl Jin dynasty D: 13.6 cm, H: 5.7 cm Durham University Museum Gift from the Rt Hon Malcolm MacDonald DUROM. 1969.119
150 · Two bowls Jin dynasty D: 13.8 cm Zhejiang Museum
118
119
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264 · Squat meiping vase with carved peony design
265 · Squat meiping vase with carved peony design
Northern Song dynasty H: 16.7 cm
Northern Song dynasty H: 16.7 cm
The Museum of Oriental Ceramics, Osaka Gift of SUMITOMO Group, the ATAKA Collection Photograph by MUDA Tomohiro Acc. No.10740
Musée Guimet ©MNAAG, Paris, Dist. RMN-Grand Palais / Thierry Ollivier MA4195
192
193
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264 · Squat meiping vase with carved peony design
265 · Squat meiping vase with carved peony design
Northern Song dynasty H: 16.7 cm
Northern Song dynasty H: 16.7 cm
The Museum of Oriental Ceramics, Osaka Gift of SUMITOMO Group, the ATAKA Collection Photograph by MUDA Tomohiro Acc. No.10740
Musée Guimet ©MNAAG, Paris, Dist. RMN-Grand Palais / Thierry Ollivier MA4195
192
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353 · Dish with “sunflower” design
356 · Dish with “sunflower” design
Jin dynasty D: 18.7 cm, H: 3.9 cm
Jin dynasty D: 21.2 cm
Yaozhou Kiln Wares Museum Photography by Duan Fang
Asian Art Museum of San Francisco The Avery Brundage Collection, B62P152 Photograph©Asian Art Museum of San Francisco
354 · Dish with “sunflower” design
357 · Dish with “sunflower” design
Jin Dynasty D: 18.4 cm Meiyintang
Jin dynasty D: 21.2 cm The Collection of National Palace Museum K1B004097N000000000
355 · Dish with “sunflower” design
358 · Dish with “sunflower” design
Jin dynasty D: 18.8 cm
Jin dynasty D: 18.8 cm
Exhibit of Art Institute of Chicago Obj: 249610
Exhibit of Art Institute of Chicago Obj: 249632
242
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353 · Dish with “sunflower” design
356 · Dish with “sunflower” design
Jin dynasty D: 18.7 cm, H: 3.9 cm
Jin dynasty D: 21.2 cm
Yaozhou Kiln Wares Museum Photography by Duan Fang
Asian Art Museum of San Francisco The Avery Brundage Collection, B62P152 Photograph©Asian Art Museum of San Francisco
354 · Dish with “sunflower” design
357 · Dish with “sunflower” design
Jin Dynasty D: 18.4 cm Meiyintang
Jin dynasty D: 21.2 cm The Collection of National Palace Museum K1B004097N000000000
355 · Dish with “sunflower” design
358 · Dish with “sunflower” design
Jin dynasty D: 18.8 cm
Jin dynasty D: 18.8 cm
Exhibit of Art Institute of Chicago Obj: 249610
Exhibit of Art Institute of Chicago Obj: 249632
242
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370 · Tripod censer in bronze form Jin dynasty H: 12.4 cm Idemitsu Museum of Arts
372 · Tripod censer in bronze form Jin dynasty D: 11.5 cm, H: 11.4 cm Yaozhou Kiln Wares Museum Photography by Duan Fang
371 · Tripod censer in bronze form Jin dynasty D: 19.1 cm, H: 17.5 cm Asian Art Museum of San Francisco The Avery Brundage Collection, B60P13+ Photograph©Asian Art Museum of San Francisco
373 · Tripod censer in bronze form with “moon-white” glaze Jin dynasty D: 12.2 cm, H: 12 cm Exhibit of Art Institute of Chicago Obj: 249630
374 · Tripod censer in bronze form with “moonwhite” glaze Jin dynasty D: 18.6 cm, H: 16.5 cm ©Victoria and Albert Museum, London C.282-1910
252
253
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370 · Tripod censer in bronze form Jin dynasty H: 12.4 cm Idemitsu Museum of Arts
372 · Tripod censer in bronze form Jin dynasty D: 11.5 cm, H: 11.4 cm Yaozhou Kiln Wares Museum Photography by Duan Fang
371 · Tripod censer in bronze form Jin dynasty D: 19.1 cm, H: 17.5 cm Asian Art Museum of San Francisco The Avery Brundage Collection, B60P13+ Photograph©Asian Art Museum of San Francisco
373 · Tripod censer in bronze form with “moon-white” glaze Jin dynasty D: 12.2 cm, H: 12 cm Exhibit of Art Institute of Chicago Obj: 249630
374 · Tripod censer in bronze form with “moonwhite” glaze Jin dynasty D: 18.6 cm, H: 16.5 cm ©Victoria and Albert Museum, London C.282-1910
252
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396 · Black-glazed vessel for slops
397 · Vessel for slops
Tang dynasty D: 15.8 cm, H: 11.8 cm
Northern Song dynasty D: 21.2 cm, H: 8.6 cm
Exhibit of Art Institute of Chicago Obj: 249566
Meng family tombs at Lantian Shaanxi Academy of Archaeology
270
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FINAL ROUND (April 16)
P. 271
FINAL ROUND (April 16)
396 · Black-glazed vessel for slops
397 · Vessel for slops
Tang dynasty D: 15.8 cm, H: 11.8 cm
Northern Song dynasty D: 21.2 cm, H: 8.6 cm
Exhibit of Art Institute of Chicago Obj: 249566
Meng family tombs at Lantian Shaanxi Academy of Archaeology
270
271
P. 270
FINAL ROUND (April 16)
P. 271
FINAL ROUND (April 16)
408 · Alms bowl with white slip and brown painted floral decoration
409 · Rubbing of a documentary stone stele about the Yaozhou kilns
Tang Dynasty D: 15 cm, H: 8 cm
Dating to the yuanfeng cyclical year of the Northern Song Dynasty (1084) 125 x 61.6 cm
© Ashmolean Museum, University of Oxford Presented by Sir Herbert Ingram, 1956. EA1956.3102
Exhibit of Art Institute of Chicago
284
285
P. 284
FINAL ROUND (April 16)
P. 285
FINAL ROUND (April 16)
408 · Alms bowl with white slip and brown painted floral decoration
409 · Rubbing of a documentary stone stele about the Yaozhou kilns
Tang Dynasty D: 15 cm, H: 8 cm
Dating to the yuanfeng cyclical year of the Northern Song Dynasty (1084) 125 x 61.6 cm
© Ashmolean Museum, University of Oxford Presented by Sir Herbert Ingram, 1956. EA1956.3102
Exhibit of Art Institute of Chicago
284
285
P. 284
FINAL ROUND (April 16)
P. 285
FINAL ROUND (April 16)