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Mar

22

Blue-and-white Flask with Ruyi-scepter Shaped Ears and Interlocking Lotus Design

By Ceramic Design Ideas



 

 

Blue-and-white Flask with Ruyi-scepter Shaped Ears and Interlocking Lotus Design

Qianlong Reign (1736-1795), Qing Dynasty (1644-1911)

This pot has a garlic-head shaped mouth and a pair of ruyi-shaped ears. The interior is glazed white while the exterior is painted with floral designs. This vessel was made for court use during the Qianlong era (1736-1795) at Jingdezhen imperial kiln. This flask reflects the popularity of antique style at that time.

Jan

3

Blue-and-white Prunus Vase with Flowers and Fruits

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Yongle reign (1403-1424), Ming dynasty (1368-1644)

The vase has a small mouth with everted rim, a short neck, wide shoulders, a slightly tapered stomach and a lid with a small knob. The exterior is covered with blue-and-white glaze, decorated with S-shaped cloud design on the shoulder and disconnected sprays of floral ornamentation, fruit patterns on the stomach, slightly upward lotus-petal design and acanthus design around the foot. On the top of the lid is a plantain leaf design and a flower-leaf pattern on the walls of the lid.
  The Chinese prunus vase was prevalent from the Song dynasty (960-1272) to the 18th century. The short neck and small mouth of this prunus vase recalls a thin balustrade. In early days, prunus vases were made with a conical lid, indicating that they were utilitarian liquid containers. However, ornament and arrangement later became their priority function instead of utility. This one is characterized by delicate ornamentation and clear composition, which is the typical style of the Yongle porcelain.

 Blue-and-white Prunus Vase with Flowers and Fruits

Jan

3

Double-gourd-shaped Vase Decorated with Bats

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Qianlong reign (1736-1795), Qing dynasty (1644-1911)

The double-gourd-shaped vase has a straight mouth, short neck, and a smaller upper bulb compared with the lower one which gracefully terminates in a narrow, slightly upturned foot. The interior wall is applied with turquoise glaze and the exterior with red cloud-like bat designs on the blue-green-glazed ground. At the bottom inside the foot ring, grouped in three lines within a single-line crimson frame, are six crimson characters in seal script reading “Made in the Qianlong period of the Great Qing” (Daqing Qianlong nian zhi).
  Vessels in gourd shapes are typical among traditional Chinese porcelain productions. Based on some of its characteristics such as its intertwining tendrils and profuse seeds (in Chinese, the character for “seed” [zi] is homophonic with the character for “offspring”), the gourd is often connected with auspicious meanings such as abundance and fertility. The gourd was also considered a holy object for Daoist practice. Over the centuries, it was believed that people with miraculous powers were able to use gourd as a vehicle to enter the land of the immortals. At the same time, it is also used as containers for Daoist elixirs of immortality. The pattern decorating the vase is also intended as a rebus in which great fortune and blessing (“hongfu” in Chinese) are represented by image of the red bats (also pronounced “hongfu”).
  Both the elegant, round shape and the bat pattern help us to glimpse how “fortune” was understood and celebrated during the Qianlong reign.

Double-gourd-shaped Vase Decorated with Bats

Jul

8

Blue-and-white Incense Burner with the Pattern of the Eight Trigrams

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Blue-and-white Incense Burner with the Pattern of the Eight Trigrams

 

Yuan Dynasty (1271-1368)

The long and short horizontal strokes on the outer wall of the incense burner are Daoist symbols–the eight trigrams for divining the future. The lotus is popularly known as “Buddhism flower”. Lotus petals were popular motifs for decoration in Buddhist culture. These decoration motifs on the incense burner reflect people’s religious believes at that time

 

Jul

8

Blue-and-white Ding Tripod with Floral Design

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Blue-and-white Ding Tripod with Floral Design

 

Yuan Dynasty (1271-1368)

This ding tripod is tall and of simple structure, which is quite rare among Yuan dynasty porcelain wares. Curves at the stomach and the feet elegantly draw contrast to the straight lines below the mouth rim.

Jul

7

Underglaze-red Vase with Carved Floral Design

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Underglaze-red Vase with Carved Floral Design

 

 

Yuan Dynasty (1271-1368)

This vessel is decorated with underglze-red motif and incised patterns. The red motif is bright but has blur outlines, reflecting the characteristics of underglaze-red wares in early Yuan dynasty.

Jul

2

Black-glazed Vase Carved with Floral Design, Lingwu Ware

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Black-glazed Vase

 

Western Xia Dynasty (1038-1227)

Lingwu kiln is located in Lingwu, Ningxia Hui Autonomous Region By comparison, historians found the clay and glaze of this vessel similar to the excavated Lingwu wares in Ningxia Hui Autonomous Region in terms of the clay body and the glaze type. Therefore, this vase is considered a Lingwu ware. Sharing the same glaze colors and subject matters of the motif, porcelain wares of the Western Xia dynasty were deeply affected by the style of Cizhou wares in Hebei province. However, Lingwu wares look strong and wild, reflecting the ethnic characteristics.

Jul

1

Polychrome Beaker Vase with Design of Peony and Magnolia

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Polychrome Beaker Vase

Shunzhi Reign (1644-1661), Qing Dynasty (1644-1911)

In the Qing dynasty Shunzhi era, polychrome porcelain shapes retained the antique flavor of late Ming dynasty. Many vessels employed a strong contrast between vivid hues of vermillion and green boldly painted in unrestrained fashion. The body of this beaker vase (gu) has white glaze with blue-green specks, polychrome-painted with distinct images of irregular rocks, flowers, and other designs. Each color is vibrant, with visual effects presented clearly with a refined sense of beauty.

Jun

26

Black Pottery Pot with Double Rings

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Black Pottery Pot with Double Rings

Longshan Culture (ca. 2400-2000 BCE), Neolithic Era (ca. 10000- ca. 2000 BCE)

The black pottery was fired in a strongly reducing atmosphere (lacking oxygen); during the last stage of firing the fire was extinguished, the kiln was closed, and water was poured from the top chimney; carbon element from the fuel infiltrated the ceramic wall through the steam. Longshan is a Late Neolithic culture. It was named after Longshan village, Zhangqiu county, Shandong province where it was first recognized in 1928. The vessel was made on a rotating wheel which became common during the Longshan culture, and vessels became thinner than before

Jun

26

Celadon Cong Vase, Longquan Ware

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Celadon Cong Vase

Southern Song Dynasty (1127-1279)

Longquan kiln is located in Longquan, Zhejiang province The Song dynasty saw the trend of restoring ancient styles in porcelain production. Derived from the jade cong tube of ancient times with minor changes, the oldest surviving cong vase dates to the Southern Song dynasty. The Shiwan kiln of the Ming dynasty (1368-1644) and Jingdezhen of the Qing dynasty (1644-1911) also produced such vases, but neither of them could emulate the elegance of the Longquan cong vases of the Song dynasty