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Note
London sotheby’s, on November 12, 2003, no. 78
Mr Simon kwan “MuWenTang” old Tibet
North America ten surface lingbi on collection, number EK199, purchased from Ezkenazi Ltd.
exhibition “seemingly boundless of song dynasty ceramics”, Hong Kong museum of art, 1994,
this exposure, deep under the abdomen, ring foot, six arrises kwai synchronized on the whole, the end slightly raised edges and corners, outside the abdominal wall reinforcement, the lining inside concave curve form, foot had the heart shape heart swelled. A foot dew tire, tire color gray, tire body density, it serves to show red kiln. This machine adopts bound feet are full, a foot scraping glaze, glaze pad foot technology fire burning; Inside and outside the full ShiQing glaze, glaze color and pure and fresh quietly elegant, enamel, like jade, its light seductie portrayal of charm cuddly, face close to the southern song imperial wares. And cup type moderate volume, as well as the literati tea LiangQi play.
according to research that the southern song dynasty besides using kuan, a part of China from the longquan celadon. Longquan celadon glaze black births celadon, is the direct product of “longquan imitation officer”. Black births celadon is the biggest characteristic of black tyres, green glaze, slitting lines, “purple iron foot”, etc., these are all with by kiln has a close relationship.
the lamp shape very difficult, for throwing high technical requirements, in the song dynasty kiln is not easy. This tire body thin, elegant shape, glaze thick layer run, can yet be regarded as a most yiping. Palace Museum to see the similar case, see the Palace Museum hidden treasures two song porcelain (bottom) of series, page 79, the figure of 72, but the glaze color, its slightly worse than this. Another chrysanthemum petals, published in the China ceramics complete – song (below), Shanghai people’s fine arts publishing house, 1999, pp. 108, 70. The British museum, Dave’s Foundation hidden cases, see Pierson, Stacey, Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, school of Oriental and African studies, university of London, 1997, pp. 54, no. A204. |
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