Museum

The tray is decorated with rocks, peonies, peach tree branches, peacocks, and pheasant. This tray and the famille-rose tureen with peacock and peony design are two pieces from a setof tableware. It is donated by Volvo China.

Flat symmetrical ears adorn this oval tureen. Both the tureen and the lid are decorated with a variety of auspicious objects such as rocks, peonies, branches of peaches, peacocks, and pheasant in famille-rose and gold. This tureen and the famille-rose tray with peacock and peony design are two pieces from a set of tableware. This tureen is donated by Volvo China.

The cup is glazed white on the interior wall and decorated with gold paint along the exterir rim. The cup has a blue armorial pattern with royal crown and the date 19 August 1776. It is donated by Volvo China.

The vase has flared mouth rim, thin neck, plump belly, and foot ring. Vases of the type were named after a wine called Yuhuchun since they were frequently used as wine containers during the Song and Yuan dynasties (10th century- 14th century). In the Ming and Qing time, they gradually lost their practical function and were used for display. The vase exhibited here dates to the Hongwu reign. Black speckles are found where the cobalt blue pigment aggregates. The low gravity center of the vase makes it appears steady and…

Floral motifs are commonly seen on traditional ceramics. Two or more types of flowers form varied floral motifs by different arrangements. Following the tradition of the Yuan dynasty (1206-1368), most of the blue-and-white porcelain wares dating to the Hongwu reign of the early Ming dynasty are large in size with smooth contoured curves.

In ancient Chinese folklore, the lingzhi fungus is associated with auspiciousness and immortality. It is a promising omen of stability, peace, and success. Bamboo stems and rocks both signify literati’s meritorious conduct and nobility of character. The large dish exhibited here is decorated in light cobalt blue. Black speckles are found where the blue pigment aggregates. The subject matter of the decoration is presented simple yet clear.

Three cloud motifs are seen on the interior of the dish, while the exterior is decorated with the design of dragon among clouds, a typical ornamental motif of the Qing court. The design of dragon among clouds demonstrates the supreme position of the imperial family. Small black spots are distributed on the surface of the dish. Under the glaze of the interior wall are molded dragon motifs, which inherits the decorative style of egg-white porcelain wares of the Yuan dynasty (1206-1368).

Floral pattern is seen both inside and outside this stout, large bowl. To make an underglaze-red ware, the craftsman first painted the biscuit with pigment rich in copper oxides and then applied with a layer of transparent glaze before firing at high temperatures. The beauty of this bowl lies in that the floral patterns are presented by the white part where no color pigment was applied. The chemical pigment was painted only to serve as a red background. Such technique was still rare in the Hongwu reign of the Ming…

The vase has a flared mouth rim, a thin neck, a plump stomach, and a foot ring. Vases of this type were named after a wine called Yuhuchunsince they were frequently used as wine containers during the Song and Yuan dynasties (10th century- 14th century). During the Ming and Qing dynasties (14th century-20th century), they became decorative items. The dark red color of this vase indicates an unsatisfactory atmosphere during firing.

Principal motifs include waves and rock cliffs, clouds, and four ferocious sea animals–each has an elephant’s head and a lion’s body. A Chinese character for “heaven” (tian) is inscribed on the base. It is an outstanding piece of porcelain wares with decoration in contrasting colors of the Chenghua reign

Porcelain wares datable to the Chenghua reign are all of small size. The blue outlines were painted under the transparent glaze layer before firing at high temperatures while the polychrome colors were filled in on the glaze before refiring at low temperatures. This jar is decorated with lotuses in four panels around the stomach, which are defined by thin lines.

Vessels with decoration in contrasting colors (doucai) are first fired at high temperature with outlines of the target patterns painted in cobalt blue pigment beneath the transparent glaze layer, then filled in with polychrome pigments over the glaze layer and re-fired at low temperature. Chinese people in the past believed that the lingzhi fungus was the plant of immortality, which accounts for the popularity of this motif.

As a sacrificial utensil, the bowl is decorated with the eight Buddhist emblems, namely, the wheel of Dharma, the white conch shell, the precious parasol, the canopy, the lotus flower, the water bottle, the two golden fish, and the knotted cord. There are not many extant porcelain wares with decoration in contrasting colors (doucai) dating to the Wanli period. The shape and decoration is considered imitation of a Chenghua period prototype.

The exterior wall is decorated with curvy lines along the mouth rim and interlocking clover blossoms around the stomach. Water lilies and lotuses are painted in cobalt blue at the interior bottom. Although fading, the gold paint of interlocking lotus flowers in the interior of the bowl can still be identified.

Defined by black outlines and filled with green color, the design of dragons among clouds is seen on both inner and outer walls of the dish. On the exterior wall, interlocking lotuses and stylized lotus petals were molded on the wet, soft biscuit under the transparent glaze layer.

A plain tricolor porcelain ware was made by filling the colors in the carved pattern parts, which was left unglazed, on a biscuit coated with transparent or colored glaze layer that has been fired at high temperatures. The firing process is different from the tricolor pottery made in the Tang dynasty, although both of them are known as “tricolor”. The “plain tricolor” indicates the exclusion of red. The production of plain tricolor wares began at Jingdezhen during the Chenghua reign (1465-1487) and reached its height in the Zhengde reign (1506-1521)….

A plain tricolor porcelain ware was made by filling the colors in the carved pattern parts, which was left unglazed, on a biscuit coated with transparent or colored glaze layer that has been fired at high temperatures. The firing process is different from the tricolor pottery made in the Tang dynasty, although both of them are known as “tricolor”. The “plain tricolor” indicates the exclusion of red. The production of plain tricolor wares began at Jingdezhen during the Chenghua reign (1465-1487) and reached its height in the Zhengde reign (1506-1521)….

Fahua vessels are usually first decorated with appliqués or openwork, creating raised outlines of motifs that are subsequently filled in with colored glaze, and then fired at low temperatures. Stools are usually placed in courtyards or gardens as seats and decorations as well. This drum-like stool has an openwork motif of peacocks among peonies.

Qingliangang culture is a Middle Neolithic culture, named after Qingliangang, Huai’an county, Jiangsu, where the earliest finds were discovered. The painted pottery of this culture features red, brown, and purple pigments to make arch, ripple, the eight divinatory trigrams, cross, and dot motifs.

The white pottery used very pure type of clay. It was fired in a kiln at about 1,000 degrees centigrade. This pot comes from the Dawenkou culture, Late Neolithic, 4000-2200 BCE. Dawenkou culture was located in the lower Yellow River valley. It is named after Dawenkou village in the countryside of Tai’an city, Shandong province.

A gui is type of water vessel shape like a bird. The type first appeared in the Shandong region. Shandong, located in the east, was at that time inhabited by the Shaohao and Taihao tribes, who used the bird as a totem. Longshan is one of the Late Neolithic cultures of China. It was named after Longshan village, Zhangqiu county, Shandong province where is was first recognized in 1928.

The he is a water vessel which could be used to serve water or wine. Qijia culture developed from the Majiayao culture, and was named after the first discovery in 1924 at Qijiaping, Guanghe county, Gansu province. Qijia is a culture between the Late Neolithic and Early Bronze Age in the upper Yellow River valley.

Black pottery was fired in a strongly reducing atmosphere (lacking oxygen); during the last stage of firing the fire was extinguished, the kiln closed and water poured from the top chimney and the 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, a method which became common during the Longshan culture; vessels became thinner than before.

In daily life the dou was used to serve condiments such as pickles and meats. In bronze assemblages the dou was a ritual vessel. White ceramics appeared as early as the late Neolithic. By the Shang dynasty, due to increases in kiln temperatures and finer clays, the clay of these ceramics became finer and whiter. The elaborate carving techniques show the high level of development of late Shang white ceramics.

Taotie is a mythical carnivorous monster. Bronzes in the Shang and Zhou dynasties commonly used the head of these creature in decorations, which is known as the taotie pattern. Use of ‘taotie’ to name this motif began with a book, Xuanhe bogutu, written in the 12th century of the Song dynasty (960-1279). By the Shang dynasty, due to increases in kiln temperature and finer clays, the fabric of white ceramics became finer and whiter. The elaborate carving techniques show the high level of development of late Shang white ceramics.

He pouring vessel is an ancient vessel used for drinking or mixing wines. It has a deep belly, round mouth, with a spout and a handle. The grey pottery was achieved by firing in a reducing (low oxygen) atmosphere in which the ferric oxide in the clay is unable to be fully oxidized. Grey pottery appeared as early as the Middle Neolithic but enjoyed greatest development in terms of production in the Shang dynasty.

The grey pottery resulted from firing in a reducing (oxygen low) atmosphere in which the ferric oxide in the clay is unable to be fully oxidized. Grey pottery appeared as early as the Middle Neolithic but enjoyed greatest production during the Shang dynasty.

Yaozhou kiln is located in Huangbu, Tongchuan, Shaanxi province. Although Yaozhou kiln produced vases of many types, but vases in the shape of pomegranate are rarely seen among surviving vessels. This vase should be made in the early North Song dynasty. During this period of time, celadon wares from Yaozhou kiln were characterized with glass-like, evenly coated glaze layer with tiny cracks. Primarily for daily use, these celadon wares inherited the shape of those produced in the Five Dynasties (907-960) in the same kiln.

Yaozhou kiln is located in Huangbu, Tongchuan, Shaanxi province. Dark-reddish-purple glazed porcelain ware is a new product of Yaozhou kiln in the mid Song dynasty. Imitating the lacquer wares of the Song dynasty, dark-reddish-purple glazed porcelain wares were produced in large numbers, second to the quantity of celadon wares. The dark-reddish-purple glaze contains iron as the colorant, and only presents the color at high temperatures. Ferric oxide accounts for as much as 5 percent in the glaze material.

Yaozhou kiln is located in Huangbu, Tongchuan, Shaanxi province. The bowl exemplifies Yaozhou celadon wares. A medallion is carved in the center of the interior bottom, from which chrysanthemum petals radiate toward the mouth rim. This special design reflects the aesthetic taste of the craftsman. The carved decoration on Yaozhou wares matured in the mid Song dynasty and developed to a higher level in late Song dynasty.

Yaozhou kiln is located in Huangbu, Tongchuan, Shaanxi province. Decoration patterns on celadon wares from Yaozhou kiln in the Song dynasty include many subject matters, such as plants, animals, figures and religious tales. “Children at play” is the most popular motif of figure themes. Little kids are portrayed playing among flowers, bending to pick flowers, chasing deer and ducks, and holding lotus in the arms. The decoration is stamped rather than carved on the interior wall of this bowl. Many bowls have been excavated from the site of Yaozhou kiln….

Longquan kiln is located in Longquan, Zhejiang province. This tripod incense burner wears a plum-celadon glaze. Longquan wares adopt various forms and styles, such as plates, bowls, washers, and burners of everyday use, brush pots, brush stands, and water containers in the study, as well as statuettes, interior decoration items, and minor artworks. Among them, those imitating bronze vessels of the Shang (ca. 16th century-11th century BCE) and Western Zhou (ca. 11th century-711 BCE) dynasties look most exquisite. This incense burner was designed after a bronze ding vessel.

Longquan kiln is located in Longquan, Zhejiang province. The vase was designed after a bronze pot of ancient times. With archaic and elegant style, it is a masterpiece of Longquan celadon wares.

Big and well preserved, the vase represents the highest level of porcelain making in Jingdezhen kiln in the Song dynasty. A bluish-white glazed porcelain ware has a thin but firm body. The glaze layer resembles jade. In Song and Yuan (1271-1368) dynasties, bluish-white glazed porcelain wares were in strong demand overseas. Therefore, led by the Hutian kiln in Jingdezhen kiln complex, a huge manufacture network of bluish-white porcelain was established in south China.

In Southern Song dynasty, Jingdezhen kiln as the porcelain center in south China also produced porcelain wares imitating the renowned Ding wares in the north. Those imitations are called “southern Ding wares”. An example in point is the washer displayed here.

The bluish-white glaze resembles the natural luster of jade. During the Song and Yuan (1271-1368) dynasties, bluish-white glazed porcelain wares were in strong demand overseas. Therefore, led by the Hutian kiln in Jingdezhen kiln complex, a huge manufacture network of bluish-white porcelain was established in south China. Archaeological findings from the Hutian kiln in southeastern Jingdezhen indicate that since the early 10th century, the kiln kept producing porcelain wares of various types, such as the celadon wares and white-glazed porcelain wares in the Five Dynasties (907-960), the bluish-white glazed porcelain…

Fahua vessels are usually first decorated with appliqués or openwork, creating raised outlines of motifs that are subsequently filled in with colored glaze, and then fired at low temperatures. Clouds, immortals and pavilions decorate the jar. Besides appliqués, craftsman also carved motifs on the jar.

Pottery of the Cishan culture is dominated by red pottery, and the bowl is one of the most common forms. The Cishan culture is named after the village of Cishan, in Wu’an county, Hebei province, where the first finds of this type were made in 1972. It dates to the Northern China Middle Neolithic, 6000-5600 BC.

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.

White ceramics appeared as early as the late Neolithic. By the Shang dynasty, due to increases in kiln temperature and finer clays, the fabric of white ceramics became finer and whiter. The elaborate carving techniques show the high level of development of late Shang white ceramics. A pattern of concentric boxes was used as a background pattern, which gave the geometric pattern more pronounced relief. It was also a common decoration technique on bronze.

Arhats or luohan, disciples of Sakyamuni, are the highest-ranking figures in Theravada Buddhism. As defenders of Buddhist teachings,luohan is a subject in Buddhist decoration. The thickly-potted walls of this incense burner are embellished with images of 32 luohans painted in blue on white. The gestures of the figures are vivid and natural. The fluid lines are distinctive.

Dehua kiln is located in Dehua county, Fujian province. The carved floral decorations are created by using bamboo, bone, or iron pincers on the green clay body. The lines are carved deep and broad. The middle of this white plate is decorated with a distinctive peony carving.

Dehua kiln is located in Dehua county, Fujian province. Because the words for “Chinese catalpa”and “autumn” are both pronounced qiu, a catalpa leaf symbolizes autumn. For many sentimental and educated people, catalpa leaf and autumn embody multiple literary and poetic meanings. A Chinese catalpa leaf inspired this white-glazed washer with the veins of the leaf visible on the exterior and a heap of plum blossoms adorning the bottom of the washer.

Dehua kiln is located in Dehua county, Fujian province The word for gourd, hulu, sounds like the words “fortune” and “wealth” (fu lu), thereby giving this vase its auspicious name. This pot has a round lid with a pearl knot. Glazed white without decoration, the pot is appropriate for everyday use.

Dehua kiln is located in Dehua county, Fujian province. Two small ears adorn either side of this white tubular-shape vase. Because the milky white glaze is smooth and lustrous like congealed fat, it is commonly called “lard white glaze”.