Our most recently added item - May 2024 (Ji Zhou Yao)

 

A fine, old Ji Zhou Yao bowl
Diameter: 15.7cm

Introduction and History of Ji Zhou Yao

Ji Zhou Yao is a type of Chinese pottery known for its simple yet sophisticated style. It was produced in kilns located in Ji County, present-day Tianjin, during the Northern Song Dynasty.

The distinctive feature of Ji Zhou Yao ware lies in its glaze, which exhibits a beautiful blue-green hue, reminiscent of the color of jade.

The creation of Ji Zhou Yao bowls dates back to the 11th century when skilled artisans used local clay and unique glazing techniques to produce these exquisite ceramics.

The kilns in Ji County provided an ideal environment for firing these pieces, resulting in the development of the distinct Ji Zhou Yao style.

Creation and Use of Zi Zhou Yao Bowls

Zi Zhou Yao bowls were created during the Northern Song Dynasty, specifically between the years 960 and 1127. These bowls were highly valued for their delicate craftsmanship and the mesmerizing glaze that adorned their surfaces. They were primarily used for serving tea, a practice deeply rooted in Chinese culture.

Cultural Symbolism

Ji Zhou Yao bowls symbolize elegance, refinement, and the pursuit of perfection in Chinese culture.

They embody the Confucian ideals of harmony, balance, and respect for tradition, making them more than mere utilitarian objects.

In conclusion, Ji Zhou Yao ware stands as a testament to the artistic and cultural achievements of the Song Dynasty. Its timeless elegance and cultural significance continue to resonate through the centuries, enriching our appreciation for the artistry and craftsmanship of ancient Chinese ceramics.

The story of Ding kilns and imperial Chinese ceramics (Song ceramics)

Ding Kilns and Their Role in Imperial Chinese ceramics The Ding kilns, located in Quyang County in Hebei province, played a pivotal role in the production of imperial Chinese ceramics during the Song Dynasty. These kilns were among the five great kilns of the period and were particularly celebrated for their distinct style and technical innovation. The Ding kilns primarily produced ceramics for the Northern Song court, and their wares were highly favored by the imperial household. The delicate beauty and exceptional quality of Ding ware solidified its reputation as some of the most prestigious and desirable ceramics of the era. Distinctive Characteristics of Ceramics from the Ding Kilns Ceramics produced from the Ding kilns are known for several distinctive characteristics, including: 1. Glaze

Ding ware is celebrated for its luminous, ivory-colored glaze, which imparts a sense of purity and elegance to the ceramics. The glaze was carefully formulated to achieve a lustrous, translucent finish, often with fine crackle patterns that enhance the visual appeal of the pieces. 2. Body and Form The body of Ding ware is typically thin and refined, reflecting the mastery of the potters in achieving a delicate yet durable structure. The forms of Ding ceramics often exhibit graceful simplicity, with straight, clean lines and subtle, understated decoration that exudes a sense of timeless sophistication. 3. Firing Technique Ding ware was fired at temperatures exceeding 1,300°C, which was higher than most other ceramics of the time. This high firing temperature contributed to the ware's firm texture and the quality of the glaze. The typical late Northern Song/Jin Ding ware had a very hard white body made from fine kaolin-type clay and a glassy ivory tone glaze with minimal crazing.

https://www.youtube.com/watch?v=hdctHcJWz4E

Lotus and egret: a symbol of purity in a Qing court treasure (Guangxu)

 

What is 'Famille Rose?' Famille Rose porcelain, also known as "fengcai" in Chinese, is renowned for its pinkish hue, a result of the addition of colloidal gold to the glaze. This technique was introduced to China from Europe during the Qing Dynasty Emperor Yongzheng's reign in the 18th century. Famille Rose pieces continued to be produced until the end of the Qing Dynasty in 1911, with its peak during Emperor Yongzheng's rule. Notably, these pieces were made at the famous Imperial kilns of Jingdezhen. Lotus and Egret: A Dance of Purity and Grace The circular box, a captivating canvas for the artist's vision, features a mesmerizing scene: lotuses and egrets. In Chinese culture, the lotus flower holds immense symbolic weight. Its pristine blooms emerge from muddy waters, representing resilience, purity, and spiritual enlightenment. The lotus's ability to thrive in adversity resonates deeply, serving as a reminder to remain untainted by the world's imperfections. Juxtaposed with the lotus is the elegant egret, a symbol of longevity, grace, and nobility. Often depicted perched on lotus stalks, the egret embodies a harmonious connection between the earthly and the spiritual realms. The pairing of lotus and egret on this box transcends mere aesthetics. It represents an aspiration towards a life of integrity and refinement, a concept highly valued by the Chinese literati class. The serene beauty of the lotus and the poised elegance of the egret would have served as a constant reminder to cultivate inner peace and moral uprightness, qualities considered essential for a virtuous life. A Box of Untold Stories The circular box itself, although seemingly unassuming, held a practical purpose. Often referred to as a "yuanzhuan he" (round box with a cover), these containers were used by the Qing court elite for a variety of purposes. They may have held precious trinkets, jewelry, or even medicinal ingredients. The circular form, with its smooth, continuous line, symbolizes wholeness and unity. The meticulously crafted cover ensured the safekeeping of the treasured contents within. Beyond its utilitarian function, the box served as a miniature work of art, reflecting the refined tastes of its owner. The famille rose decoration, with its intricate details and symbolism, elevated the box from a mundane object to a conversation piece, a testament to the owner's social standing and appreciation for artistic beauty. Owning such a box would have been a mark of distinction, a coveted possession displayed during social gatherings or used in private moments of contemplation.

https://www.youtube.com/watch?v=6IW2hptTc_4

A tale of two emperors: decoding the exquisite blue & white (Ming dynasty)

The Yongle Emperor, born Zhu Di in 1360, was the third Emperor of China's Ming dynasty, reigning from 1402 to 1424. Known for his ambition and assertiveness, he moved the Chinese capital to Beijing and commissioned the construction of the Forbidden City. His reign also marked an unprecedented era of maritime exploration, led by Admiral Zheng He. The Xuande Emperor, Zhu Zhanji, was his grandson, ruling from 1425 to 1435. Remembered as one of China's most enlightened emperors, he was known for his patronage of the arts, particularly porcelain production, leading to a significant evolution of the craft during his reign. 3 main differences between Yongle and Xuande porcelain are: 1. Artistic Detail Yongle pieces were known for their simplicity and elegance, featuring minimalistic designs often in blue and white. Xuande pieces, however, embraced more complex designs, featuring motifs like dragons, phoenixes, and floral patterns. 2. Production Techniques Xuande porcelain was often thicker and heavier due to the emperor's preference for robustness. This contrasted with Yongle's lighter, more delicate pieces. 3. Markings Yongle pieces rarely displayed reign marks, while Xuande pieces regularly featured the emperor's reign mark, indicating his direct involvement and interest in their production. The blue and white 'floral' bowl, marked and dated to the Xuande period, is a testament to the artistic revolution of this era. With its intricate floral motif, it stood as a departure from the simpler designs of Yongle's reign, showcasing the creative evolution encouraged by Xuande. This bowl is significant in Chinese history and culture for various reasons. Firstly, it represents the zenith of blue and white porcelain production, marking a period when the art reached its peak under imperial patronage. Secondly, it serves as a tangible embodiment of China's cultural identity, reflecting the nation's artistic tastes, technical skills, and philosophical ideals of the time. Finally, it symbolizes the power of the emperor, bearing his reign mark and demonstrating his role as a cultural influencer. In essence, this 'floral' bowl is not just a piece of porcelain; it's a vital historical artifact - a window into the aesthetics, philosophies, and societal structures of 15th century China.

https://en.thevalue.com/articles/nicolas-chow-yongle-xuande-blue-and-white