Highlights of chinese ceramics the metropolitan museum of art bulletin v.33 #3 fall 1975 by alfonse K

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Seven hundred years ago, when Marco Polo marveled at the wares he had seen in China- porcelain dishes "so fine that you could not imagine better"-he reflected the perennial admirationof foreigners for the superb ceramicsof the East. Chinese porcelain has been collected and treasuredin Europe and Americafor centuries, but it may come as a shock to find out that the wares we're most familiarwiththe plates, jars, umbrella stands resplendentwith jewel-coloredbirds and flowers- are a late and specializeddevelopmentin Chineseceramic history. This history stretches back seven thousand years, to the dawn of civilization, and includes many of the world's greatest examples of ceramics.As mightbe expectedin any traditionso long-lived,it mirrors the history of Chinaitself, the eras of prosperityor confusion, of isolation or far-ranging,enthusiasticcontacts,but it has a rhythmof evolution and developmentof its own: even in periodsof chaoticuncertainty potters will perfect a techniqueor refinea shape, and even in periodsof exuberant opulence potters will lovingly employ a glaze of uncanny subtlety that had been developed centuriesbefore. Throughthe ages, however, Westernershave acquiredonly a small variety of the ceramicsproduced in China. What they got, generally, was what there was most of; the finest types were often made in such limited quantitiesthat the entire productionwas reservedfor the court. Even so, Westerners craved Chinese porcelain (between 1604 and 1654, three million pieces were importedinto Holland) and have been dazzledby what they received:blue and white wares that almost every Europeanfactorybegan by emulating;breathtakingsingle-colorwares like the oxblood vase shown on the cover; floridenameledwares whose effusivenessis temperedby the prettinessof the details. The MetropolitanMuseum's collection of Chinese ceramics,which was begun almost a centuryago, containsmanysuchpieces. But what is remarkableis that it includesa varietyof other types, lesser known, less understood.It contains,for instance,the exquisite white porcelainthat embodies the sophisticated simplicity of Sung taste; there is a vase whose striking design of peonies was formed by carvingaway a khaki slip to reveala white layerbeneath; there is Kuanware, so delicate that its glazeis often thickerthanits clay. This Bulletin presents an introductionto the history of Chinese ceramics through examples in our collection. Some of these pieces are amongthe most familiartypes of Oriental art (and, thanks to the firm prejudiceof the eye toward the familiar, among the most popular); otherswere rareeven in theirown day. All, however, reflectthe extraordinaryrange- in time, in style, in varietyof techniques- of the Chinese potter'sart. ThomasHoving Director 113

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The MetropolitanMuseumof Art Bulletin Autumn1975 VolumeXXXIII, Number3 Publishedquarterly.Copyright? 1975 by'TheMetropolitanMuseumof Art, Fifth Avenue and 82 Street, New York, N.Y. 10028. Second class postage paid at New York, N.Y. Subscriptions $11.50 a year. Single copies $2.95. Sent free to Museummembers.Four weeks' notice required for change of address.Back issues availableon microfilmfrom University Microfilms,313 N. First Street,Ann Arbor,Michigan.VolumesI-XXXVIII (1905-1942) availableas a clothbound reprintset or as individualyearlyvolumes from Arno Press, 330 MadisonAvenue, New York, N.Y. 10017,or fromthe Museum,Box 255, GracieStation,New York, N.Y. 10028. Photographs by the MetropolitanMuseum'sPhotographStudio. Editor of the Bulletin: KatharineStoddert Gilbert; Associate Editor: Joan K. Holt. Art Director: Stuart Silver. Design: Barnett/Goslin/ Barnett.

114

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THE EARLIEST TIMES

Highlights of Chinese

Ceramics

SUZANNE G. VALENSTEIN AssistantCurator,FarEasternArt Adaptedfrom the author's comprehensivesurveyof the history of Chinesepottery: "A Handbookof ChineseCeramics"(Metropolitan Museum,1975)

The Chinese have been making pottery for well over seven thousand years.The beginningsare still shroudedin mystery,andwe cannotchart that bannermomentwhen the conceptof bakingclay into useful vessels materialized.There is some evidence that crude pottery was being produced in several parts of Chinaby the Mesolithic period. By the Neolithic era the ceramic industry was so important in the agricultural communitiesof northern China's Central Plain that even semipermanent villages contained a pottery manufacturingcenter as well as a dwelling area and cemetery. An enormous number of Neolithic sites, belonging to divers cultures and many periods, have been excavatedin China. Common to most of these primitive cultures were relatively coarse utilitarian cooking, serving, and storage utensils, which were either unembellishedor decoratedin an unpretentiousmanner. Other types of pottery, includingpainted, black, and white wares, have also been found in the excavationsof Neolithic sites; generallythese exhibit a better quality of potting, and it is speculatedthat some of them were reservedfor ritualuse. 1. The distinctiveproductof what is known as the Yang-shaoNeolithic culture was painted earthenwareof remarkablerefinement.Fashioned of fine-grainedclay, the reddishor buff-coloredvessels were burnished and decorated- usually in black or black and red pigments- with geometric designs or, more rarely, with anthropomorphicor zoomorphic patterns.Vessels found in the Pan-shanhills of easternKansuProvince are consideredby many to be the peak of Yang-shaopainted pottery. The most impressive of these Pan-shan wares are large, thin-walled ovoid jars, embellishedon the upperportion with a wide variety of designs. Painted in black and red, this handsomeexample evidences the mastery of technique achieved by the Chinese potter at a prehistoric date. KansuProvince,Neolithic period, Yang-shaoculture,Pan-shantype. Earthenware,height 12 78 inches. HarrisBrisbaneDick Fund, 60.81.1 Cover: Figure 34, a vase in the spectacularoxblood glaze, one of the most popular of all the Ch'ing dynasty single-color wares. Bequest of MaryClarkThompson,24.80.537 Frontispiece:Figure 36, a delicate white porcelain bowl decorated in the palette of famille rose enamels. This technique was the outstanding achievementof the Yung-chengperiod. Bequest of Rosina H. Hoppin, AlfredW. Hoyt Collection,65.86.12

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SHANG DYNASTY (1523?-1028?B.C.) TheShangdynastywastheearliesthistoricChinesecivilization, a dyandtechnologinamicpeoplewhoaddedmanyoutstanding sociological inheritance. calinnovations to theirNeolithiccultural BythelateShang of had been a system writing developed,ivory period sophisticated Theperiodwasalso carvingwasa fineart,andjadecarvingflourished. of Chineseceramics: in thedevelopment two relatedmajor important that in theShangpotter'sartfoundeda ceramic innovations patrimony The first that this was is drawnuponto stoneware, pottery has day. andis dense,hard,andimpervious to beenfiredat a hightemperature glazeson thesestonewares. liquid;thesecondwastheuseof high-fired the a surfaceof a ceramic, serves in essence on (A glaze, glassycoating the thetwofoldfunctionof helpingto sealtheclaybodyanddecorating the of urbanized feature howThe Shangsociety, object.) outstanding Mostof theearliestShangbronzes were ever,wasitsbronzemetallurgy. but soon assumed familiar fashioned afteralready they potteryshapes; in a newformsanddecorations anidentityof theirownwithnumerous bronzesreached strictlymetallicidiom.Bythelaterpartof thedynasty to difficult a stageof technical surpass. development moresplendid,theytendedto overshadow 2. AsShangbronzesbecame andShangpotterybecame artisticachievements, othercontemporary the imitatorof this superbmetalwork.Thistsun,or ritualwine vessel,

thatreflect is a particularly ofa groupof grayearthenwares fineexample theinfluence of thebronzes.Its shapeis similarto bronzeforms;and bandsof inthesmallreliefflangesandbossesappliedto thehorizontal onesfoundonthemagnificent echothosemuchgrander ciseddecoration the ritualbronzes of day. lateShangdynasty,about HonanProvince, from Probably An-yang, B.C. centuries 14th-llth Earthenware, height10 inches.HarrisBrishaneDickFund.50.61.5

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The Chou, who had lived in Shensi Province on the fringes of Shang civilizationduring the later part of that era, conqueredthe Shang,possibly in 1027 B.C., and establishedthe longest of all Chinese dynasties. The potent yearsof the Chou rulers- known as Western Chou- lasted only until 771 B.C., when theircapital,Hao, nearmodernSianin Shensi Province, was destroyed.The dynastywas re-establishedat Lo-yangin Honan Province,but its authoritythereafterwas minimal. (Because of the locationof the new capital,this laterperiodis calledEasternChou.) After they subjugatedthe Shang, the Chou maintained the basic Shang culture and elaboratedupon it: bronze metallurgywas still a prime industry; the writing system continued to evolve; new implements were introducedinto the difficultart of jade carving. As in the Shang period, much Chou pottery reflected the greater importanceof bronzesand other morevaluablematerials. 3 (left). The finergrayearthenwaresareparticularlyapt to show bronze influences;indeed, there seem to be few shapesamong these vessels for which counterpartsin bronze or, to a lesser extent, lacquer cannot be found. In ornamentingthese wares, too, Chou potters copied designs found on the morepreciousobjects,frequentlypaintingthem with polychromepigments,often over a coatingof slip. This bowl, with its fluted sides, tall flaringfoot, and lid that can also be used as a bowl, faithfully follows a contemporarybronzeshape. Unfortunately,only a small amount of the decorationremains.Chou pigments,applied after firing, were ratherfragile, and in many cases they are badly damagedor have almostcompletelydisappeared. NorthernChina,EasternChou dynasty, 770-256 B.C. Earthenware, height 9 1 inches.HarrisBrisbaneDick Fund, 50.61.9 4 (right). This beautifullyshapedjar,althoughretainingonly remnants of its glaze, is still a splendidpiece, its powerful and well-balancedform offset by bandsof forcefulcarving.There is ampleevidenceof the use of high-firedglazes during the Western Chou period, and recent finds in southernKiangsuand northernChekiangprovincesshow that the technique continuedinto the EasternChou era as well. Many of these later Chou vessels were fashionedin essentiallyceramicforms, while others ratherclosely imitated Eastern Chou bronzes. Although their mottled brownish yellow or yellowish green glazes are fairly unsophisticated, these ceramicsare of singularimportance:they can be regardedas the precursorsof the traditionof high-firedgreen-glazedstonewaresknown as Yiieh wares, which was introducedby the beginningof the Six Dynasties and continued without interruptioninto the 11th or early 12th century. Probablyfrom Chekiangor KiangsuProvince,EasternChoudynasty, late WarringStates period, about 3rd century B.C. Stoneware, height 714 inches.HarrisBrisbaneDick Fund, 50.61.10

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CH'IN DYNASTY (221 B.C.-206 B.C.)

HAN DYNASTY (206 B.C.-A.D.220)

The first Chinese empire was founded in 221 B.C., when the state of Ch'in finally unified the country. The Ch'in empire was short-lived, however, and eventually a new dynasty, the Han, was established at Ch'ang-an(modern Sian) in ShensiProvince. (The Han is traditionally describedas the Former,or WesternHan - interruptedby a brief period when the thronewas seized by an interloper- and the Later,or Eastern Han, after the dynastywas in effect restoredwith its capitalat Lo-yang, in Honan Province.) The Han was one of China'smost gloriousepochs, in which, as a strong, unified country, it experienced a period of tremendous power and prestige, making wide territorial conquests and expandingin an unprecedentedfashionin diplomaticand culturalfields. Via the overland trade routes of Central Asia and the sea lanes from southern China to the West, the Han sent their precious silks to the Western world and received in return a wealth of ideas and products from lands as far away as the RomanEmpire. 5 (above). The superior status of metal wares, particularlybronzes, which had made such a deep imprint on Chinese ceramicssince Shang times, can still be observedin Han pottery. However, a new interest in naturalismswept through all phases of Han art and also touched the potter's craft. Ornamentationof ceramicswas no longer strictly limited to that derived from metalworkbut includeda refreshingnew vocabulary of naturalistic motifs. This handsome jar, of a bronze-inspired shape, combines a pair of animal masks and rings taken from bronze prototypes with a relief band of runningand fighting animals. It is an example of the technique of lead glazing on earthenware,which probably began toward the end of the Chou dynasty. These glazes, dark green or, more rarely, brown in tone, were fired at low temperatures. Han green lead glazes were extremely vulnerable,and most of them, after long exposure to moisture in the tomb, have decomposed to the extent of acquiringa beautifulsilvery iridescence. Northern China, Han dynasty, 206 B.C.-A.D. 220. Earthenware, height 1412 inches. Gift of Mrs. SamuelT. Peters, 26.292.83 6 (left). The cover of this minutely detailed incense burner shows a stylized landscape in which men and beasts-running figures, boars, birds, horses, a deer, and water buffalo,a veritableNoah's Ark- cavort amongcraggymountainpeaks.A sinuousdragonwith long pointed nose and curvingforked tail undulatesupside down on the bowl. Objects-known as ming-ch'i- made specificallyfor burial with the deadassumedan importantrole in earlyChina.Some Han pottery mingch'i were glazed in green (see Figure 5) or amberbrown. Others such as this gray earthenwareincense burner were either undecorated or painted with unfiredpigments, which, unfortunately,were usually impermanent.(Only a little red and white remainson this piece.) Northern China, Han dynasty, 206 B.C.-A.D. 220. Earthenware, height 83/4 inches. Gift of FloranceWaterbury,65.74.2

SIX DYNASTIES (220-589)

With the fall of the Han, Chinawas launchedinto 350 yearsof political disunity, a period known as the Six Dynasties, after six successive dynastiesthat had their capitalsat Nankingbetween 222 and 589. Despite political unrest, this was a time of substantial technological and cultural growth. One of the most profound influences on the fabric of Chineselife was Buddhism,which probablyhad been introducedduring the Han dynasty.Servingas an importantlink between Chinaand South and Central Asia, it brought numerous foreign influences from great Western cultures to China. As it became widely accepted, Buddhism made its own distinctive markon all facets of Chinese art. Although the Six Dynasties was formerly regardedas a rather unimportantinterval as far as Chinese ceramicswere concerned, recent findshave producedevidencethat this was a time of impressivedevelopment and invention, when in manyrespectsChineseceramicscameinto their own. 7 (left). Many ming-ch'iexcavatedfrom Six Dynasties tombs are representationsof people and animals.This delightful unglazedmodel of a tricornis a sturdybeast with three hornson his headand neck, and four "button" vertebraedown his back. He stands firmly on cloven hoofs, headdown, readyto charge.A portraitof pent-uppower only ten inches high, he might possibly be an imaginativereconstructionof a Triceratops, perhapsinspiredby some newly discoveredskeletal remains. The figureis of a type found in Honan Province. Chin dynasty, 265420. Earthenware,length 171 inches.Bequestof FloranceWaterbury, in memoryof John I. Waterbury,68.149.15 8 (right). This magnificentlysculptedcrouchinganimal,his headraised, ears laid back, and haunchestense, epitomizes the great affection and charm with which the Chinese have always representedanimals. His pale olive glaze is an early example of a major category of high-fired green glazes generallycalled "celadons"in the West. An extremelyimportantgroupof celadon-glazedstonewareswas produced in numerouskilns in northernChekiangand southern Kiangsu provinces from at least as early as the beginning of the Six Dynasties into the Sung era; these ceramicsare called "Yiieh" wares, probably afteran administrativecapitalin the areaonce known as Yiieh Chou. Recent tomb finds suggest that another tradition of green-glazed stonewareswas establishedin northernChinaduringthe Six Dynasties, probablyby the mid-6th century. Analysis of the composition of this vessel indicates that it may be assigned with some confidence to this little-knowngroup of northernwares. Possibly from northernChina,late Northerndynasties- Sui dynasty, about second half of the 6th-early 7th century. Porcelaneousstoneware, length 11 Vs inches. HarrisBrisbaneDick Fund, 60.75.2

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SUI DYNASTY (581-618) Brief though it was, the Sui dynasty was important,for its founder, a Northern Chou general, accomplishedthe estimable feat of reuniting China. Under Sui rule a strong centralizedgovernment was re-established, capitals were rebuilt, the Great Wall was reconstructed,and China'spolitical andmilitaryinfluencewas felt well beyondits borders. Sui ceramics,building on the foundationsof the late Six Dynasties, frequently showed many affinitiesto wares of that era, yet Sui shapes and styles heraldedthe comingof the T'ang dynastyas well. 9. This exquisitely gracefulamphorais almost lyrical in configuration, with its flowing heart-shapedlines echoedin handlesrisingto terminate in dragons'heads. It is one of a group of white wares manufacturedby the late 6th centurythat representsa step toward"true"porcelain. Westernershave always prized the merits of porcelain,which in our termsis hard,white, and translucent,imperviousto liquid, and resonant when struck.A largenumberof white wares,such as this amphora,that do not conformpreciselyto all of these criteriaare frequentlydescribed as "porcelaneousstoneware."The progressionfrom these porcelaneous stonewaresto "true" porcelain,essentiallya matterof refinement,was probablya gradualone, and, in all likelihood, "true"porcelainwas perfected duringthe T'angdynasty. Probablyfrom northernChina, Sui dynasty,581-618. Porcelaneous stoneware,height 13 V2 inches. Bequest of Mrs. H. O. Havemeyer,The H. O. HavemeyerCollection, 29.100.217

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T'ANG DYNASTY (618-906)

The T'angdynastywas one of the most brilliantin Chinesehistory. The empire was strong and prosperous,and, as the country flourished,its culture touched hitherto unknown peaks. T'ang China's influencewas widespread,reachingfrom the bordersof Koreawell into CentralAsia. Enjoying extensive trade with far distant countries, China drew from all the artisticsourceswith which it came into contact, and assimilated and Sinicized these exotic styles in an inimitable manner.The climate of prosperity,which pervadedevery aspect of T'ang life, is abundantly evident in T'ang pottery. These wares are chargedwith vitality, their decorationjubilant,their forms fairlyburstingwith enthusiasm. 10 (left). The impact of T'ang internationalismalso is evident in its pottery, where native styles were combined with imported Western elements: shapesand decorativemotifs from Persia, India, Greece, and Syria becamepart of the ceramicrepertoire.This cup, with elaborate low-relief ornament,shows the strong influenceof Persian metalwork, a frequentsourceof inspirationfor T'angartisans,especiallyin the early part of the era. Drawing from a Persian prototype, the Chinese potter based his shape on the rhyton drinkinghorn and added beaded medallions, a palmette,and semi-palmettes,all familiarpatternsin the Western metalwork.In typicallyChinese fashion, however, he has counterbalancedthe alien features with a distinctly home-growndragon. T'ang dynasty, about 7th-early 8th century. Porcelaneous stoneware, height 3 1 inches. Rogers Fund, 24.180.1 11 (right). T'ang potters exploited the wide color range of low-fired lead glazes to the fullest, producingtones from straw yellow through amberto darkbrown, rich grassygreens, and darkvibrantblues. These lead glazesare particularlyeffectivewhen combinedin the type of decoration known as san-ts'ai,"three-color,"glazes-although the hues are not strictly limited to that number.The opulent polychromesare found in manyelaboratepatterns,suchas the popularT'angmotif on this plate, a goose flyingamongclouds with radiatingcloud volutes and broadlotus leaves. Here the design was impressedinto the clay while it was still damp, and these recessedlines served to confine the colored glazes. NorthernChina,T'ang dynasty,about 8th century.Earthenware,diameter1 1 8 inches.RogersFund, 14.66

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12 (left). By the beginningof the 8th century,the sculpturalquality of Chinese tomb figures was at its zenith: they were modeled with unprecedentednaturalismand animation.The potter has impartedlife to this imposingheavenlyguardian,capturingthe essence of a mood and a gesture with superlativefidelity. There is an eloquent warning in that forbiddingexpression,and his commandingstance proclaimsauthority. His finelyrenderedfeatureshave been identifiedas those of a Khotanese, another example of the cosmopolitanismof T'ang China. Here the "three-color"glazesare seen to their fullest advantage,unrestrainedby guidelinesandallowed to flow in the heat of the kiln. The showy magnificenceof tomb figures with "three-color" glazes has made them one of the hallmarksof the T'ang dynasty. Literally hundreds of figures-soldiers, servants, musicians, tomb guardians, horses, camels-and models of all mannerof articles used in everyday life were placed in tombs to cater to the needs of the dead. Made in all sizes-some are only inches high, some are several feet-and in a wide range of qualities, they correspondedin importanceto the status enjoyedby the deceased. Northern China, T'ang dynasty, late 7th-first half of the 8th century. Earthenware,height 35 inches. RogersFund, 11.83.1 13 (right). Among the most dramaticT'ang stonewaresare those with fairlythick, opaquedarkbrownor blackglazes,which seem to add extra power to alreadyenergeticshapes.Sometimes,as on this stunningflask, the dark glazes are suffused with bold splashes of contrasting color, includingshades of cream,gray, blue, and lavender. These patches of color generallyappearto have been appliedat randomand permittedto run at will over the glaze. The unusualshape of this exceptionallyfine flask was probablybased on a leather prototype. As on the original, a cord can be passed up the sides and throughtwo loops; the backis flat, enablingthe flaskto lie securelywhen carried. Possibly from the Huang-taokilns, Honan Province, T'ang dynasty, about 9th century.Stoneware,height 11 12 inches. Gift of Mr. andMrs. JohnR. Menke, 1972.274

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FIVE DYNASTIES (907-960)

The era from 907 to 960 saw five successiveshort-lived"dynasties"in northernChina, while in the south, ten independent"kingdoms"held sway. (For convenience,these turbulentyearsareusuallyreferredto as the Five Dynasties.) Despite civil unrest, the ceramicindustry apparently managedto maintainsome semblanceof normalcy,for many fine examplesof various wares can be dated to this time. 14. The celadon-glazedwares that had been the pride of the Yiieh kilns for centuriesreachedtheir high point during the Five Dynasties, when Yiieh potters producedsome of the finest ceramicsin the history of the region. An importantpart of their output, known as pi-se yao, "prohibited-"or "private-colorware," was reservedfor the exclusive use of the princes of Wu-Yiieh, who controlled the area. This special ware is probablyrepresentedby one of the greattreasuresof the Museum'scollection, the bowl with a splendidlycarveddesign of three high-spirited dragonsunder a lustrous, translucentsoft green glaze. The fluid action and agile grace displayed by these dragonsas they race across a background of lapping waves are a tribute to the peerless technique of the carver,who, by pressinga stylus againstdampclay, has virtuallycreated perpetual motion. (One dragon's tail is tucked under his hind leg, a curiousYiieh "trademark.") Probablyfrom kilns in the vicinity of Shang-linHu, ChekiangProvince, Five Dynasties, 10th century. Porcelaneousstoneware, diameter 105/8 inches.RogersFund, 18.56.36

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NORTHERN SUNG, CHIN, AND SOUTHERN SUNG DYNASTIES (960-1279)

The Sungdynastyconsistedof two phases: the NorthernSungera, from

960 to 1127, when the mainprovincesof Chinawere consolidated; and the period after 1127, when the Jurchenconqueredthe Northern Sung. The Jurchen,as the Chin dynasty,then ruled most of the northern Chinese provincesuntil 1234, while the son of a formerNorthern Sung emperor continued the Sung dynasty in central and southern China. Sung culturewas essentially an introvertedone. This was a time of relative peace and tranquility (albeit purchasedwith extremely heavy tributes), but menacingneighborsat most of China'sborderskept the countryfairlyisolated from the West and the stimulusof culturalinterchange. Thereforethe Sung looked inward for artistic inspirationand found it to a large extent in nature, which is mirroredin almost every facet of Sung creativity. 15. The highly aesthetic, placid, and introspectiveatmosphereof both the Northernand SouthernSung dynastiesis refected in the quiet elegance of those ceramicsin the classiccourt taste. Formsare simple and basicallyuncomplicated,while designs, when used, seldom intrude but are content to be investigatedat the viewer's leisure. There is literary evidence that the white porcelainsknown as Ting wares were among those suppliedto the NorthernSung court, and the beautyof this basin illustrateswhy Ting porcelainswould have enjoyedimperialfavor.Delicately potted and enrobedin a mellow ivory white glaze, it has a freeflowing, finely carved design of lotus and sagittariasprays that epitomizes the Sung penchantfor unobtrusivedecoration.Ting wares were usuallyfired on their unglazedmouth rims, probablyto prevent warping, and the rims were very often capped,as here, with metal. Probablyfrom the Chien-tz'uTs'un kilns, Hopei Province,Northern Sung dynasty, 1 th-12th century.Porcelain,diameter93/4 inches. Gift of Mrs.SamuelT. Peters, 26.292.98

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16 (opposite). This magnificentewer demonstratesthe special talent of Sung potters for stressing shape and glaze, relegating ornament-no matter how complex- to the lesser role of complementingrather than dominatingthe object.The bodyis brilliantlycarvedwith two phoenixes flying amidst a ground of scrolls with conventionalizedflowers and sickle-shapedleaves. The bold design is emphasizedby the thin, translucent, deep olive greenglaze, which accumulatesin the recessedareas,intensifyingin tone andaccentingthe pattern.Standingon threescowlingmask legs that terminate in paws, the ewer is topped off by a high archedhandle in the form of a serpent-likedragon, whose head forms the spout; a smallfigurecroucheson his back.This ewer exemplifiesthe group of wares genericallyknown as Northern celadons, which was producedat severalkiln complexesin northernChinaduringthe NorthernSung,Chin,andYuanperiods. Probablyfrom the Huang-paoChen (Yao Chou) kilns, Shensi Province, Northern Sung dynasty, llth-12th century. Porcelaneousstoneware, height 8 4 inches. Gift of Mrs. SamuelT. Peters, 26.292.73 17 (left). This rarevase, decoratedin the sgraffitomanner,with khakicolored slip carved to reveal underlyingwhite slip, is dominated by a skillfully executed peony scroll. The design has been carefullyplotted so that the scroll starts at the bottom of the vase and continues uninterruptedly, twining first to the right around the lower section and then reversingits directionas it winds aroundthe top. The vase is from a largefamily of waresmadein numerouskilns- principallyin northern China-known by the all-encompassingname of Tz'u Chou. Considered by some to be the folk pottery of China, Tz'u Chou wares were producedin largequantitiesduringthe NorthernSung and Chin dynasties (and, indeed, they continueto be madeto this day). Departingfrom the polished tastes of the Sung court, they evidence the preferenceof the popularmarketfor stronger-colored,bolder decorationexecuted in a varietyof ways. Tz'u Chou ware, NorthernSung dynasty, 1 th-12th century.Porcelaneous stoneware, height 13 8 inches. (The neck is a later restoration.) Gift of Mrs.SamuelT. Peters, 26.292.61

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18 (opposite). Painting on Tz'u Chou wares is generally executed in brownor blackon a groundof white or, morerarely,green.The drawing frequentlyshows greatflairand confidence,as it does on this delightful little black and white pillow. Here a small boy rides a bamboo hobbyhorse, probably in an imaginaryrace, and looks over his shoulder to spot the competition.The continuousband of stylized leaf-scrollon the sides exhibits the same spontaneityof brushstroke as the freely painted maindesign. Possibly from the Tung-ai-k'oukilns, Tz'u Hsien, Hopei Province, late NorthernSung- Chindynasty,12th-13th century.Inscribedon the base: Changta chia chen, "Pillow of the great Chang family." Stoneware,length 1114 inches.HarrisBrisbaneDick Fund, 60.73.2 19 (upper left). Some northernbrown-or black-glazedstonewares, to a large extent from the same kilns that producedTz'u Chou wares, require no more than plain glazes to dramatizestrong yet simple shapes. Occasionally,bold decorative effects were added, often appearingas rust-coloredsplashes against a lustrous black ground, a combination used on this fine bowl. Here the potter has controlledhis mediumin an impressivemanner,managingthe matte rust spots so that they diminish in size but increasein density as they move towardthe rim. Against this reddishbrown "milky way," he has splashedfive large dramaticbursts of rust variegatedwith silvery graypatches. Northernware, NorthernSung- Chin dynasty,about 1 1th-12th century. Stoneware,diameter734 inches. Dodge Fund, 60.81.3 20 (lower left). Few ceramicsarouse such admirationamong connoisseurs as the Southern Sung Lung-ch'iianceladons with their elegant, simple, and well-proportionedforms sheathed in thick, smooth, lustrous green glazes that feel like polished jade. As we see on this superb vase, decorationis underplayed;at most it is a sculpted element, such as these handlesin the form of fish, which providea subtle counterpoint of ornamentto the stark,somewhatangularlines of the piece. The largegroup of Lung-ch'iianceladons,namedafter the district in southwesternChekiangProvince that was the focal point of their production, played an importantrole in China's ceramic history from as earlyas the Five Dynastiesuntil well into the Ming era. By the time the Sung dynasty was establishedin the south in the 12th century and the capital, Lin-an (modern Hangchow), had become the hub of Sung China's cultural activities, the Lung-ch'iiankilns had a long-standing tradition of celadon wares. Under the Southern Sung this inheritance was carriedto its sublime realization. Possibly from the Ta-yaokilns, Lung-ch'iianHsien, ChekiangProvince, Southern Sung dynasty, 12th-13th century. Porcelaneousstoneware, height 63/4 inches. Bequest of Mary StillmanHarkness, 50.145. 301

21 (below). Ch'ing-pai,"bluish" or "greenishwhite," aptly describes the thin, faintly blue, translucentglaze that takes on a deeper tone where it collects in the recessed designs of this splendidly decorated pillow. A virtuoso piece, it has as its base a beautifullymodeled reclining lady in a long flowing robe, who rests her elaboratelycoifed head lightly on her hand. The richlyornamentedsurfaceof the oval headrest displays a vigorouslyincised and combed design of two boys crawling among peonies. Ch'ing-paiporcelains vary greatly in quality, ranging from exquisite,delicateobjectspotted to a remarkablethinnessto much sturdierworks of relativelylittle artisticmerit. Indigenous to southern China,they may have originatedas earlyas the T'angdynastyand were producedat least until the mid-14thcentury. Probablyfrom kilns in the vicinity of Ching-teChen, KiangsiProvince, SouthernSung dynasty, 12th-13th century.A partiallyobliterated inscription on the plinth could read: Yeh chia chih( ? ) fu, possibly, "Masterof the house of Yeh." Porcelain,length 9 inches. Gift of Mrs. SamuelT. Peters, 26.292.82 22 (right). Epitomizingthe specialserenityof Sung pottery, this superb dish is the essenceof understatement,with a glazelike pale grayishblue polished marble,as pleasing to the hand as it is to the eye. The dish is of a classknown as Kuan,"official,"wares,which were manufacturedin at least two groupsof kilns in Lin-anafter the firm establishmentof the new SouthernSung capitalthere in 1135. Kuan waresare noted for the extreme thinness of their body: the vessels are sometimes so finely potted that the body is thinner than the envelopingglaze. Kuan glazes bringto mind the muted tones of nature- light buff or shadesof brown, pale blue or light greenishblues, and bluish or greenishgrays.They are frequentlycobwebbed with a profuse crackle-generally brownish, as here, or blackish-which, while seemingly artless, is in fact a deliberately induced, highly sophisticatedtype of decoration. From the Lin-an (Hangchow) kilns, ChekiangProvince, Southern Sung dynasty, 12th-13th century. Porcelaneous stoneware, diameter 81116inches.FletcherFund,24.1 72.1

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YUAN DYNASTY (1279-1368)

During the 13th centurythe Mongols swept down from the north and, in a somewhat lengthy process, conqueredChina. Under the new regime, Chinaentered a period very differentfrom the introverted Sung era. Now part of a vast empire extending from Korea to South Russia and Persia, it had considerablecommercewith foreign nations, which brought a new infusion of ideas, innovations, and cultural influences into Chinese life. The subtle nuances of Sung ceramicswere probably lost on the Mongolsandthe Westernmerchantswhose patronageplayed an important part in Yuan ceramics. Therefore Chinese potters addressed themselves to makingwares to satisfy the Mongol and export taste for more obvious ornamentation. Numerous design elements found in Yiian wares may be traced to another dynasty of nomadic origin, the Chin, which, in turn, drew much of its style from the T'ang. Near Easternmetalworkalso served as a source of new decorativemotifs andshapes. 23 (left). This rare pair of incense burners illustrates the increasing elaborationof ch'ing-paiporcelainsduringthe Yuan dynasty.The fully modeled, animatedlions crowning the lids are beautifullyarticulated, mouths open wide, bulging eyes punctuatedwith dabs of brown, and manes flowing in two rows of tight curls. With a front paw the lions protect a ball, and, in a somewhatinelegantgesture, raise a hind leg, as though they were about to scratchtheir heads. The potter did not hesitate to incorporateseveral types of enrichmenton the same object: the bases are bedecked with floral motifs mold-impressedon lotus-petal panels, underscoredby a row of carvedoverlappinglotus petals. Probablyfrom kilns in the vicinity of Ching-teChen, Kiangsi Province, Yiian dynasty, about early 14th century. Porcelain, heights 834 inches.FletcherFund,34.113.2, 3 24 (right). The earlyYuan dynastywas a fertile period for experiment and innovation, when, probablyencouragedby a need to create something more strikingfor the Mongols and foreign trade, potters added a spate of new kinds of decoration to their repertoire. Of paramount importancewas the fresh technique of painting in cobalt oxide under the glaze to produce blue designs against a white ground, one of the most significantdevelopmentsin Chinese ceramichistory. By the time this blue and white vase was made, paintershad masteredthe new medium, and some of the most dynamicporcelainsever were being produced. Ornamentedwith considerableenthusiasm,this vase commands attention: the drawingis sure and spontaneous,and the typicallystrong blue emphasizesa virtuosity of brushwork.The cover, probably original, has a hollow conical projectioninside that fits into the mouth of the vase. Probablyfrom kilns in the vicinity of Ching-teChen, Kiangsi Province, late Yiian-early Ming dynasty, about third quarter of the 14th century. Porcelain, height with cover 17/2 inches. Rogers Fund, 26.271.1

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After a periodof insurrection,the Mongolswere overthrownby a Chineserebelleader,who establishedthenativeMingdynastyin 1368. ThefirstMingcapitalwas the cityof Nanking;in 1421 the Mingcourt movedto Peking,constructedon the site of the old Mongolcapital, Khanbaliq,or Ta-tu.Muchof the gloriouscityerectedat thattimestill standsto be admiredtoday. Theporcelainsof theMingdynastyhaveattainedsuchrecognitionin the West that"Ming"hasbecomealmostgenericfor anythingceramic fabricatedin Chinabeforethe 20th century.While,unhappily,manyof the piecescalled"Ming"haveno possibleclaimto thatattribution,the porcelainsthat wereproducedduringthe periodare amongthe most beautifulandexcitingto emergefromChina'skilns.Becausethekilnsat Ching-teChenand the surroundingareain KiangsiProvincebecame allothermanufacturing duringtheMingera,overshadowing paramount on fromthesekilnsfrom wares attention focuses our centers, primarily this time on.

25 (precedingpages). This splendidlargered and white earlyMing bowl is paintedunderthe glazein copperoxide,a techniqueprobably introducedduringthe earlyYuanperiodalong with its counterpart, underglazeblue, which is paintedin cobaltoxide. The copperoxide wasnot as successfula medium,however,for it wasdifficultto control, oftenyieldinga muddyor grayhue.In the late 14th century,whenthis bowl was made,Chinesepotterswerestill havingdifficultieswith underglazered; thereforethe good deep red colorof this piece makesit exceptional.Thedecorationof the bowlis typicalof the veryearlyMing years,when a profusionof motifswas workedinto a compositionof strictlydisciplinedformality. Ching-teChen ware, Ming dynasty,late 14th century.Porcelain, diameter153/4inches.RogersFund,18.56.35 26 (precedingpagesanddetail). In manyrespectsthe blueand white porcelainsof the early15th centuryillustratethesewaresat theirapogee. Theycombinethe freedomandenergyof a newlyripenedartform with the sophisticationof conceptandmasteryof executionthatcome withmaturity.Thehighesttraditionsof earlyMingdynastybrushwork in theverymodelof a bristlingdragonon thismarvelous arerepresented jar.His dorsalfinsarelike the teeth of a buzzsaw, his clawshavean andhemovesaround bonestructureworthyof Michelangelo, underlying thejarwithtotalpoweryet consummate grace.Flankedby the headsof fearsomemonstersis aninscriptionwiththereigntitleof theincumbent emperor,Hsiian-te.Reignmarksbecamepopularduringthe Hsiian-te era (1426-1435) and wereusedcontinuouslyafterthat time. (However,inasmuchas they werefrequentlycopied,theyshouldalwaysbe regardedwithcaution.) Ching-teChenware,Mingdynasty,Hsiian-temarkandperiod,14261435. Porcelain,height 19 inches. Gift of RobertE. Tod, 37.191.1

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27 (opposite). This stately vase, of a shape known as mei-p'ing, is admirablysuited to hold a single perfect spray of prunus blossoms. Its flowing contoursconvey a feeling of strength,enhancedby the enveloping dark, mottled blue glaze. The vase bears elegant designs of a cloudcollar border,aquaticplants, and a band of elaboratelotus-petalpanels in light turquoise, white, and very pale yellow glazes, which contrast handsomelywith the dark background.This is a choice example of a group of sturdily potted porcelaneous stonewares decorated in the cloisonne technique, in which slender threads of clay are applied to definethe motifsandcontrolthe coloredglazes. Possibly Ching-teChen ware, Ming dynasty, late 15th century.Porcelaneous stoneware, height 141/2 inches. Bequest of John D. Rockefeller, Jr., 61.200.52 28 (upper left). This brush rest in the form of five mountain peaks bears a Persian inscriptionon either side, which, put together, reads: Khamahdan, "pen rest." It is one of a group of blue and white porcelains popularly called "Mohammedan"wares, which were produced during the Cheng-teera (1506-1521). These wares are distinguished by the Persian or Arabicinscriptionsthat are almost invariablypart of the decoration of arabesques,conventionalizedfloral scrolls, and stiff formal borders.This characteristicornamentis found on an assortment of objects, including some in shapes apparentlynew during the 16th century.The majorityof "Mohammedan"wares are accessoriesfor the scholar'swriting table, and it is assumedthat most of them were made for the Muslim eunuchs who exercisedgreat power over the Cheng-te emperor. Ching-teChenware,Ming dynasty,Cheng-temarkand period, 15061521. Porcelain,length 83/4 inches. RogersFund, 18.56.14 29 (lower left). The curvaceousshape of this special small vase was inspired by a gourd. With an unerringsense of fitness, the artist has furnishedit with a design that achieves total harmonyof ornamentand form. The formalizedfloralscrolls, blossoms,and borderswere painted in blue underthe glazeand silhouettedwith yellow enamelpainted over it, creatingthe effect of blue patternson a yellow ground. This decorative device, probablyemployedas earlyas the Hsiian-te reign, was popularthroughoutthe MingandCh'ingdynasties. Ching-te Chen ware, Ming dynasty, Chia-chingmark and period, 1522-1566. Porcelain, height 6 inches. Bequest of Edward C. Moore, 91.1.379

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30 (left). Depicted in lively detail on this particularlyfine brushholder is a panoramaincludingsteep mountains,swirling clouds, a cascading waterfall, a man fishing, warriorsin a landscape,and a sage with his attendant in a garden. The painting is skillfully executed in a lovely shade of deep blue that inspired the metaphor"violets in milk." The brush holder is an example of the blue and white porcelainsgenerally known as "Transition"wares,readilyidentifiedby certaineccentricities in the drawing- for instance,V-shapedhooks to indicate foliage- and by distinctivelandscapes,manyof which were probablytakenfrom contemporarywoodblockprints. While numerouspieces such as this brush holderwere most likely madefor the Chinese,the majorityof the "Transition" wareswere intendedfor Europe,primarilythe Dutch market. Ching-teChen ware, late Ming dynasty,about second quarterof the 17th century.Porcelain,height 7 7s inches. Purchasedby subscription, 79.2.366 31 (right). A special type of porcelainknown in the West as blanc de chine is distinguishedby its extremelyfine-grainedvitreous white body, embraced by a thick satiny glaze ranging in tone from milky white throughwarmivory to a faint rosy hue. There is a wide varietyof blanc de chine vessels, includingnumerousobjects for the writing table, but perhapsthe most glamorousof these wares are the figures- frequently representingBuddhistor Taoist deities- fabricatedat the Te-huakilns of Fukien Province. These ceramic sculptures vary considerably in quality, but at their best they exhibit a brillianceof modelingthat raises them to the rankof true masterpieces.Thereis perhapsno better example than this superbfigureof Bodhidharma,the Indian patriarchsaid to be the founderof Zen Buddhismin China.His totally sereneexpression and the incrediblyfluid drapingof his robes celebrate the skill of the mastercraftsman. Te-huaware,late Ming dynasty,17th century.Porcelain,height 11 34 inches. Gift of Mrs. Winthrop W. Aldrich, Mrs. Arnold Whitridge, andMrs.SheldonWhitehouse,63.176

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In 1644, afterrepeatedforaysinto Chineseterritory,a confederationof Jurchentribes from southernManchuria,who had earlier adopted the name Manchu, overcamePeking and brought their Ch'ing dynasty to China. The porcelainsof the Ch'ing dynasty provide a dazzlinggrand finaleto the cavalcadeof Chineseceramicsthat beganthousandsof years before. In the earlier part of the dynasty, under the patronageof the Manchuregime,the ceramicindustrycreatedsome of the most splendid pottery ever crafted by man. An extremely wide range of wares was produced,from extravagantlydecoratedobjects that were exported in enormousquantitiesto quite differentporcelainsmanufacturedmainly for imperialuse and little known in the West until recent times. China's contacts with Europe had a very important influence on Ch'ing pottery. The 18th centuryin particularsaw considerablecrosspollinationof ideas. A crazefor "things Chinese"swept Europe, and a correspondingChinese fondness for foreign novelties resulted in the adoption of Europeanmethods of decoration and elements of design into Chineseceramics. 32 (detail and at right). The stellar polychrome decoration of the K'ang-hsiperiod (1662-1722), the famille verte palette of enamels, takes its namefrom the severaldistinctiveshades of greenalmost invariablypresentin the colorscheme.These brightlycoloredand translucent famille verte enamels were applied fairly thickly over darkeroutlines and details. When used over the glaze, they stand radiant and clear againstthe white groundthat forms an integralpart of the total composition. The jewel-like quality of the enamels on this elegant beakershaped vase and the vibrantly alive drawing of a favorite K'ang-hsi motif, birdsflutteringamongfloweringbranches,makeit a primerepresentativeof its class. Painting on porcelain with colored enamels was successfully developed during the Ming dynasty. (Enamels-in essence, bits of glass colored with metallicoxides-are applied to ceramicsthat have already been fired.After the piece has been decorated,it is given a secondfiring at a relatively low temperatureto fuse the enamels.) This decorative technique was used with such authorityduring the Ch'ing period that polychromeporcelainsoutshoneall othersof the time. Ching-teChen ware, Ch'ingdynasty,late 17th- early 18th century, probablyK'ang-hsiperiod.Porcelain,height 18 inches. Bequest of John D. Rockefeller,Jr., 61.200.66

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33 (right). Seated on a gilded silver throne, his filigreed hat set with pearls, jade, and kingfisherfeathers, this figure is truly gorgeous. One of a pair, he is possibly the God of Wealth in Civil Aspect (the other is possibly the God of Wealth in MilitaryAspect); he wears elaborately fashioned robes, sumptuously embroideredwith a panoply of flowers and auspicious symbols. The figureis decorated with famille verte enamels, but here, rather than using them over a glaze- which would tend to fill in and blunt the sharpmodelingof the featuresand contours of the garments-the painter has applied them directly onto the unglazed,prefired(or biscuited) porcelainbody. Ching-teChen ware, Ch'ing dynasty,late 17th -early 18th century, probablyK'ang-hsiperiod. Porcelain, height 23 8 inches. Bequest of JohnD. Rockefeller,Jr., 61.200.11 34 (cover). The monochromeporcelains of the Ch'ing dynasty are a fitting counterpartto the effulgent splendor of that era's polychrome wares, substituting for the latter's more obvious charmsthe aesthetic pleasures of elegant shapes and exquisite glazes in which one appreciates a fundamentalsense of the materialitself. This beautifullypotted vase illustrates one of the most popular of all Ch'ing dynasty singlecolor wares, the intense, brilliantred glazes known as lang-yao,sang de boeuf, or "oxblood." A peerlessexampleof its type, the spectacularglaze on this vase gives the impressionof gazing througha limpid surfacelayer, slightly crazed and strewn with countless fine bubbles, to the color that lies underneath. The color starts in a greenish gray tone at the top, and, as it descends,quicklyturns to red in shadeschangingfrom light, with hints of green, to deep crimson, with an occasionalovertone of dark reddish brown. The remarkablecontrol of the thick glaze, checkedevenly above the foot, is considered to be a hallmarkof genuine K'ang-hsisang de boeuf porcelains, which have been copied extensively-with varying degreesof success- to this day. Ching-teChen ware, Ch'ing dynasty, late 17th-early 18th century, probably K'ang-hsi period. Porcelain, height 7 s inches. Bequest of MaryClarkThompson,24.80.53 7 35 (precedingpages). The effect is quite subduedin the famousK'anghsi peachbloomglazes. Soft and velvety, they vary in color from piece to piece but are essentially pale pinkish red in tone, often shading to darkervalues; the glazes are sometimes plain, frequentlymottled, and, in a particularlyappealingversion, show tender flushes of moss green. The finest peachbloomwares comprisean elite series- in all likelihood consistingof no morethaneight specificshapes- of small elegantvessels

designedfor use at the scholar'swritingtable.The refinementseen in the potting,shapes,and glazeof this groupindicatesthat it probably datesto the finalportionof the K'ang-hsireign.Not manycollections canboastof havingmorethana few of theseclassicpeachbloomtypes, andthe Museumis fortunateto own sevenof the eight,togetherwith a variationof the remainingone,the watercoupein whatis presumably themiddlerowat theleft. Ching-teChenware,Ch'ingdynasty,K'ang-hsimarks,probablylate in the period,1662-1722.Porcelain,heightof tallestvase814 inches. Backrow:Bequestof BenjaminAltman,14.40.381; Gift of EdwinC. Vogel,65.225.3;Bequestof BenjaminAltman,14.40.362. Middlerow: Bequestof Mrs.H. O. Havemeyer,The H. O. HavemeyerCollection, 29.100.331; Bequestof BenjaminAltman,14.40.369. Frontrow:Bequest of Mrs. H. O. Havemeyer,The H. O. HavemeyerCollection, 29.100.352; Gift of Edwin C. Vogel, 65.225.5; Bequest of Mary StillmanHarkness,50.145.286 36 (frontispieceandat right). Thesignalaccomplishment of theYungin decorated was famille rose porcelain chengperiod (1723-1735) enamels.Thispaletteof opaqueandsemi-opaqueenamelsdiffersfrom previousoverglazepolychromeenamelsin two respects.First is the additionof rosepink- derivedfromcolloidalgold-in a widespectrum of tonesfromthepalestblushof pinkto a deepruby.Perhapsevenmore importantis the useof opaquewhiteenamel,whichwasmixedwiththe colors to modifythem, enablingthe painterto achievesubtletiesof shadesandto modelhisdrawingmuchthesameas in paintingin oils. It appearsthat the famillerose enamelswere adoptedfrom European paintedenamelson goldandcopperintroducedby Jesuitmissionaries. Most of the finestfamillerose porcelainsof the Yung-chengperiod, madein the imperialkilnsat Ching-teChenfor the exclusiveuse of the emperorand his court,are the quintessenceof delicacyand restraint. The enamelingon thesewaresis exquisite,anddecorationis generally sparse,allowingthe beautifulwhiteporcelainto playan importantpart in thedesign.A particular whimsysometimesfoundon thistypeis seen on this impeccablebowl, wherethe designflowsfromthe outsideover therimto becompletedinside. Ching-teChenware,Ch'ingdynasty,Yung-chengmarkandperiod, 1723-1735. Porcelain,diameter47/16 inches. Bequestof RosinaH. Hoppin,AlfredW. HoytCollection,65.86.12

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37 (left). The royalfanciesof the Yung-chengperiod were not confined rigidly to porcelains embellished with the famille rose enamels. This meticulouslycraftedvessel, paintedin underglazered, was undoubtedly a ceramictidbit intended for the delectation of a memberof the court. Its simple ovoid shape, with three raisedringspunctuatingthe juncture of neck and shoulder,is derivedfrom one of the K'ang-hsipeachbloom forms. Here the artisan,with caressingstrokes of his brush,has created an elaborateportrait of a five-claw imperialdragon chasing an elusive flamingpearlthroughthe clouds. Ching-teChen ware, Ch'ing dynasty, Yung-chengmark and period, 1723-1735. Porcelain,height 734 inches.Bequest of MichaelFriedsam, The FriedsamCollection,32.100.434 38 (right). Completelymodest in its statement,this charmingdish with its simple motif of a bird perched on a flowering magnolia branch, exhibits such an elegantlysparse composition that it doubtless follows the style set by the court. The dish belongs to a large family of porcelains which are often potted to a so-called eggshell thinness. So many of these pieces are covered on the back with monochromeenamel ranging from pink to ruby in tone that the name "ruby-back"is sometimes given to the entire group. On the inside they frequently show the full spectrumof famille rose colors, but they may also be painted in a single color, such as sepia or blue, or in combinationsof black, red, and gold. Ruby-backporcelains cover a broad range of tastes: some are as restrained in decorationas this dish; others are quite elaborate, with a varietyof centralmotifs surroundedby as many as seven intricateconcentricborders. Ching-te Chen ware, Ch'ing dynasty, about 1730-1750. Porcelain, crimson pink glaze on the reverse, diameter 8 inches. Purchased by subscription,79.2.693

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39 (detail and at right). An uncommonlyfine 18th-centuryceladon, this large vase has a simple profile that gives full scope to dynamic relief decoration.Its majesticdragon hurtling through a cloud-strewn sky is the embodimentof kinetic energy.The masterfularticulationof this dragon, the smaller one confronting him, and the backgroundof clouds, rocks, and waves has been emphasizedby the deepened tone of the pale greenglaze in the hollows of the designs. It is fitting that our final exampleof Chinesepottery should be one with a celadonglaze, for this is the ceramicconvention that reachesfarthest back into China's past and impressesus most with the sense of traditionthat has pervaded the potter'sart throughthe ages. Ching-teChen ware, Ch'ingdynasty,about mid-18th century.Porcelain, height 203/4 inches.Gift of Mr.and Mrs. Hugh J. Grant,1974.223

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An-yang

A Huang-pao Chen (Yao Chou) Wei River Sian ?

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Huai River Nanking

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Inside back cover: Detail of Figure 12, a heavenlyguardiandecorated in the "three-color"glazes characteristicof many T'ang dynastypieces. RogersFund, 11.83.1 Back cover: Figure 32, an opulent beaker-shapedvase in the famille verte palette of enamels,a highlightof the K'ang-hsiperiod. Bequest of John D. Rockefeller,Jr., 61.200.66

A Handbookof

CHINESE CERAMICS by SuzanneG. Valenstein

Fromthe Neolithic erato the twentieth century,the historyof Chinese potteryis splendidlyillustratedby more than two hundredobjectsfrom the MetropolitanMuseum,supplementedby importantpiecesfrom othergreatcollections. This book describesthe characteristicware of everyperiod,explains the new decorativetechniquesdevelopedin variousages,andtraces the changingconventionsof Chineseceramicartas it evolved over seven thousandyears.Particularattentionhasbeen paid to recentdiscoverieswhich havenecessitatedconsiderablerevisionin formerly held concepts. Eachchapterbeginswith a briefhistoricalsummaryof the period discussedandthe factorsthatdetermineddifferencesin style anddecoration.Therearea glossaryof termsanda seriesof informativemaps. 264 pages, 8 x 10 in., 225 illustrations,boundin linen over boards. $15.00

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