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MING DYNASTY PORCELAIN
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Fine Imperial Ming Dynasty Porcelain
Imperial Blue And White Ming Dynasty 15th C. Chenghua Windswept
Mark & Period Figure Jar
( WORLD CLASS )
Joseph.Sharon@chinesemasterpieces.com
This is a beautiful Fine Art Imperial Ming Dynasty blue and white 15th C. marked and period of Chenghua windswept figure guan jar. The Chenghua period was from 1465 - 1487 There are four panels on the jar, first is the lotus leaves, the next panel is water with horses flying in the clouds above, than the main panel is a figure story with a six character Chenghua mark, and the base has a water design. You can see the windswept look that the artist created on the figures robes seen blowing in the wind. You also can see clearly how the Jar was luted together when it was created. The bottom of the Jar is mottled and looks some what burnt. The Jar measures approx. 11 3/4 inches tall. These Chenghua blue and white wares are the most sought after blue and white wares that China ever produced. The beautiful cobalt used during this period makes it very easy to distinguish from other periods of Chinese blue and white wares. They have a distinct blackish tone from the imported cobalt that they used during that period, and when the heaping and piling effect breaks the surface of the glaze it shows a silvery reflection which is rare on Chenghua B&W because they refined the cobalt so well, The imported cobalt is called Samali blue, they believe it came from Persia and they don't know where in Persia. They have not imported this cobalt for over 500 years. During the Chenghua period they also used a local cobalt called Pitang. The imported cobalt was known to run and they would stabilize it by mixing them together. In Chenghua wares they painted fine outlines and filled them in with a broad brush using loose free style strokes. They refined the clay better than any previous period and with their high firing kilns this often caused them to look burnt or mottled on the bottom in many vessels that have un-glazed bottoms. And bottoms that are glazed sometimes look wavy this can be seen when the light reflects on the glaze. This glaze is easy to distinguish it is very fine, and has tiny even bubbles this can be seen using a loop. It doesn't get better than true Imperial blue and white Chenghua wares.
( click image to enlarge)
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Imperial Blue & White 15th Century Ming Dynasty Chenghua
Mark & Period Vase
WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is an exceptional Masterpiece, Blue & White Ming Dynasty Chenghua Mark & Period Imperial Figure Meiping Vase. This Vase measures approx. 13 3/4 inches Tall. Chenghua period was from 1465 - 1487. Check your auction catalogs,books, and look in museums, online you won't fined a better Chenghua Meiping vase published anywhere. The vase has wonderful form, great color and is painted with very controlled loose freestyle strokes that the finest Chenghua wares are known for. This vase you can see flaking in the biscuit when looking through a loop, this is a clear indication of it's great age. These blue and white wares are the most sought after blue and white wares that China ever produced. The beautiful cobalt used during this period makes them very easy to distinguish from other periods of Chinese blue and white wares. They have a distinct blackish tone from the imported cobalt that they used during that period, it's rare when the heaping and piling effect breaks the surface of the glaze because they refined the cobalt so well. If it does it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, the imported cobalt called Samali blue, they believe came from Persia and they don't know where in Persia. They have not imported this cobalt for over 500 years. During the Chenghua period they also used a local cobalt called Pitang. The imported cobalt was known to run and they would stabilize it by mixing them together.Depending on the mix it would give very refined colors. In Chenghua wares they painted fine outlines and filled them in with a broad brush using loose free style strokes. They refined the clay better than any previous period and with their high firing kilns this often caused them to look burnt or mottled on the bottom in many vessels that have un-glazed bottoms. And bottoms that are glazed sometimes look wavy this can be seen when the light reflects on the glaze. This glaze is easy to distinguish it is very fine, and has tiny even bubbles this can be seen using a loop. It doesn't get better than true Imperial blue and white Chenghua wares.
(click image to enlarge)
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Imperial Blue & White 15th Century Ming Dynasty Chenghua
Mark & Period Jar
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is a Fabulous Masterpiece, Blue & White Ming Dynasty Chenghua Mark & Period Imperial Buddhist Lion Jar. This Jar measures approx. 5 1/8 inches Tall. Chenghua period was from 1465 - 1487. This Jar represents why Chenghua wares are so sought after.This Jar has it all,it's very delicate and a brilliantly executed masterpiece. This is one of those pieces you have to see first hand to appreciated the skill and control it took to paint this Jar way back in the Ming Dynasty.Check your auction catalogs, books, and look in museums, online you won't find a better Chenghua Jar published anywhere. The Jar has very exquisite form, great color and is painted with extremely controlled loose freestyle strokes some looks to have used only a few strands of hair brushes, just wonderful details that the very finest Chenghua wares are known for. The Jar is painted with four Buddhist Lions, and Buddhist symbols.This Jar you can see flaking in the biscuit when looking through a loop, this is a clear indication of it's great age.The Glazed base looks wavy this is typical in Chenghua wares. These blue and white wares are the most sought after blue and white wares that China ever produced. The beautiful cobalt used during this period makes them very easy to distinguish from other periods of Chinese blue and white wares. They have a distinct blackish tone from the imported cobalt that they used during that period, and its rare when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, the imported cobalt called Samali blue they believe came from Persia and they don't know where in Persia. They have not imported this cobalt for over 500 years. During the Chenghua period they also used a local cobalt called Pitang. The imported cobalt was known to run and they would stabilize it by mixing them together. Depending on the mix it would give very refined colors. In Chenghua wares they painted fine outlines and filled them in with a broad brush using loose free style strokes. They refined the clay better than any previous period and with their high firing kilns this often caused them to look burnt or mottled on the bottom in many vessels that have unglazed bottoms. And bottoms that are glazed often look wavy this can be seen when the light reflects on the glaze. This glaze is easy to distinguish it is very fine, and has tiny even bubbles this can be seen using a loop. It doesn't get better than true Imperial
blue and white Chenghua wares.
(click image to enlarge)
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Imperial Doucai Porcelain 15th Century Ming Dynasty Chenghua
Mark & Period Tian Jar
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is a extremely fine Chinese antique doucai three friends Tian Jar. Doucai means contrasting colors, they used underglaze blue out lines filled in with colored enamel that are well balanced and artistically pleasing using a whimsical Style. The three friends of winter are Pine, Bamboo, and Prunus branches. You can clearly see the under glaze blue used was the imported cobalt called Samali blue and this was mixed with the local cobalt pitang and this gave the Chenghua period the most beautiful refined Cobalt blue in Chinese history and very easy to distinguish from other cobalts that China has used. They haven't imported the samali blue for or 500 years and today they're not sure where in Persia it even came from. The clay that was used in the Finest Doucai wares of the Imperial Chenghua Kiln had slightly off white color, somewhat like the color of bone. You can clearly see this also they used high firing kilns that often would turn the foot ring brownish and the base would be slightly wavey in certain light. The Chenghua mark on the base means Heaven. The Chenghua period was the pinnacle of the Doucai technique and this Jar confirms why, this Tian Jar is in a class of it own. This Ming Dynasty Chenghua Period Three Friends Tian Jar measures approximately. 5 1/8 " tall.
(click image to enlarge)
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Imperial Doucai Porcelain 15th Century Ming Dynasty Chenghua
Period Phoenix Bottle
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is a extremely fine Chinese antique doucai Early Chenghua Phoenix Bottle. Doucai means contrasting colors, they used underglaze blue outlines filled in with colored enamels that are well balanced and artistically pleasing using a whimsical Style. This bottle was done in the early part of the Chenghua Period. The Chenghua artisans experimented with colors and techniques. The clay they used in the early part of Chenghua was more white and the glaze has a more bluish ting, the bottle was thinly potted. You can clearly see the underglaze blue used was the imported cobalt called Samali blue and this was mixed with the local cobalt pitang and this gave the Chenghua period the most beautiful refined Cobalt blue in Chinese history and very easy to distinguish from other cobalts that China has used. They haven't imported the samali blue for over 500 years and today they're not sure where in Persia it even came from. You can see they used high firing kilns that often would turn the foot ring brownish and the base would be slightly wavy in certain light. The Bottle has the six character mark on the base. The Chenghua period was the pinnacle of the Doucai technique. This Ming Dynasty Chenghua Period Phoenix bottle measures approximately 6 1/2" tall. ppjrs
(click image to enlarge)
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Imperial Ming Dynasty Chenghua Mark & Period Meiping Dragon Vase
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is a extremely fine Chinese antique doucai Three Dragon Meiping Vase. Doucai means contrasting colors they used, under glaze blue out lines filled in with colored enamel that are well balanced and artistically pleasing using a whimsical Style. What make this Vase so important is it's large size and the masterful way the artist used color to creat almost a perfect balance of contrasting the colors. The Vase has several band of Phoenix's, Dragons, And Flying Horses You can clearly see the under glaze blue used was the imported cobalt called Samali blue and this was mixed with the local cobalt pitang and this gave the Chenghua period the most beautiful refined Cobalt blue in Chinese history and very easy to distinguish from other cobalts that China has used. They haven't imported the samali blue for over 500 years and today they're not sure where in Persia it even came from. The clay that was used in the Finest Doucai wares of the Imperial Chenghua Kiln had slightly off white color, somewhat like the color of bone. You can clearly see this also they used high firing kilns that often would turn the foot and ring brownish. The Vase Has the six character mark of the Chenghua on the shoulder. The Chenghua period was the pinnacle of the Doucai technique and this Vase confirms why, this Vase is in a class of it own. There are those that believe that no large doucai ware were produced during the Chenghua period thats not true. And this Meiping vase proves that it's not true. This Ming Dynasty Chenghua Period Dragon Meiping Vase measures approximately. 19" tall.
(click image to enlarge)
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Imperial Blue & White Porcelain 15th Century Ming Dynasty Chenghua
Very Large Mark & Period Vase
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is a wonderful very large blue and white Ming Dynasty Chenghua Imperial marked and period Vase. This Vase is decorated with several bands and the main band is Fish swimming amongst water weeds. This unusual Vase is very large for Chenghua wares but they did do large wares there very rare. The Chenghua period was from 1465 - 1487. It has the six Character Chenghua mark written in the second band. Check your auction catalogs,books, and look in museums, online you won't find a Larger Chenghua Vase published anywhere. The vase has wonderful form, great color and is painted with very controlled loose freestyle strokes that finest Chenghua wares are known for. These blue and white wares are the most sought after blue and white wares that China ever produced. The beautiful cobalt used during this period makes them very easy to distinguish from other periods of Chinese blue and white wares. They have a distinct blackish tone from the imported cobalt that they used during that period and when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, Chenghua wares refined the cobalt so well they rarely have heaping and piling. The imported cobalt called Samali blue, they believe came from Persia and they don't know where in Persia. They have not imported this cobalt for over 500 years. During the Chenghua period they also used a local cobalt called Pitang. The imported cobalt was known to run and they would stabilize it by mixing them together. Depending on the mix it would give very refined colors. In Chenghua wares they painted fine outlines and filled them in with a broad brush using loose freestyle strokes. They refined the clay better than any previous period and with their high firing kilns this often caused them to look burnt or mottled on the bottom of this vase This glaze is easy to distinguish it is very fine, and has tiny even bubbles this can be seen using a loop. It doesn't get better than true Imperial blue and white Chenghua wares. approx. 26 " tall
(click image to enlarge)
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Imperial Blue & White Porcelain 15th Century Ming Dynasty
Chenghua Large Figure Jar
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is a wonderful very large blue and white Ming Dynasty Chenghua Imperial mark and period Figure Jar. This Jar is decorated with several bands and the main band is Figure story. This unusual Jar is very large for Chenghua wares it's very rare and can't be denied by those so called experts. The Chenghua period was from 1465 - 1487. It has the six Character Chenghua mark written in the second band. Check your auction catalogs,books, and look in museums, online you won't find a Larger Chenghua Jar published anywhere. The Jar has wonderful form, great color and is painted with loose freestyle strokes that finest Chenghua wares are known for. These blue and white wares are the most sought after blue and white wares that China ever produced. The beautiful cobalt used during this period makes them very easy to distinguish from other periods of Chinese blue and white wares. They have a distinct blackish tone from the imported cobalt that they used during that period and rarely the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, but Chenghua wares refined the cobalt so well they rarelyhave heaping and piling, this imported cobalt called Samali blue, they believe came from Persia and they don't know where in Persia. They have not imported this cobalt for over 500 years. During the Chenghua period they also used a local cobalt called Pitang. The imported cobalt was known to run and they would stabilize it by mixing them together. Depending on the mix it would give very refined colors. In Chenghua wares they painted fine outlines and filled them in with a broad brush using loose free style strokes. They refined the clay better than any previous period and with their high firing kilns this often caused them to look burnt or mottled as on the bottom of this vase This glaze is easy to distinguish it is very fine, and has tiny even bubbles this can be seen using a loupe. It doesn't get better than true Imperial
blue and white Chenghua wares. approx. 26 " tall
(click image to enlarge)
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Imperial Blue & White 15th C. Ming Dynasty Chenghua
Mark & Period Brush Washer
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
This is an extremely fine incised B/W Ming Dynasty Chenghua period Imperial brush washer. This brush washer was painted in a wave pattern some crashing against the rocks with finely incised mythical animals above the water. The brush washer measures approx. 5 9/16 inches tall. Chenghua period was from 1465 - 1487. These blue and white wares are the most sought after blue and white wares China ever produced. The beautiful cobalt used during this period makes them very easy to distinguish from other periods. They have a distinct blackish tone from the imported somali blue cobalt they used during that period. They also mixed in local cobalt call pitang to stabilize the Imported cobalt because it was known to run. Most Chenghua wares don't have the heaping and piling effect because they refined the cobalt so well, pieces that have heaping and piling that breaks the surface of the glaze will show black spots or a silvery reflection not brown that would be local Chinese cobalt, The imported cobalt came from Persia and known one knows where in Persia. China has not imported this cobalt since the end of the Chenghua period over 500 years ago. The Chenghua wares are painted with fine outlines and filled in with a broad brush using loose free style strokes. They refined the clay better than any previous period and used high firing kilns, often causing un- glazed bottoms to look burnt or mottled and glazed bottoms to be wavey. The glaze has tiny even bubbles that can be seen with a loupe. It doesn't get better than true
Imperial blue and white Chenghua wares.
(click image to enlarge)
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Imperial Blue & White 15th C. Ming Dynasty Xuande Period
Double Dragon Vase
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
Blue & White 15th C. Ming Dynasty Xuande mark and Period double Dragon Vase with Phoenix head handles. This vase used the Yuan style Dragons which they often used in the beginning of the Xuande reign. They used the imported samali blue cobalt and this cobalt has a blackish tone, and when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt,, this confirms the age because this cobalt has not been avaliable for 500 years. This double Dragon vase measures approx. 19" tall
(click image to enlarge)
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Imperial Blue & White 15th C. Ming Dynasty Xuande Mark & Period
Eggshell Thin Bowl
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
Blue & White 15th C. Ming Dynasty Xuande Mark & Period eggshell thin Bowl Painted with fruit and leaves. This masterpiece has been embellished and enhanced with gilt trim. They used the imported samali blue cobalt and this cobalt has a blackish tone, and when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt,, this confirms the age because this cobalt has not been avaliable for over 500 years.
The Bowl measures approx. 11 3/4" Dia. ppjrs
(click image to enlarge)
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Imperial Blue & White 15th C. Ming Dynasty Xuande Mark & Period
Eggshell Thin Flowers Bowl
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
Blue & White 15th C. Ming Dynasty Xuande Mark & Period eggshell thin Bowl Painted with flowers, vines, and leaves. This masterpiece has been embellished and enhanced with gilt trim. They used the imported samali blue cobalt and this cobalt has a blackish tone, and when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, this confirms the age because this cobalt has not been available for over 500 years.
The Bowl measures approx. 11 3/4" Dia. ppjrs
(click image to enlarge)
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Imperial Blue & White 15th C. Ming Dynasty Xuande Mark & Period
Bird & Flowers Dish
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
Blue & White 15th C. Ming Dynasty Xuande Mark & Period Painted with Bird, Flowers, and leaves Dish. This masterpiece has been embellished and enhanced with gilt trim. They used the imported samali blue cobalt and this cobalt has a blackish tone, and when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, this confirms the age because this cobalt has not been available for over 500 years. The Dish
measures approx. 14 1/8" Dia. ppjrs
(click image to enlarge)
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Imperial Blue & White 15th C. Ming Dynasty Xuande Mark & Period
Phoenix & Flowers Dish
(WORLD CLASS)
Joseph.Sharon@chinesemasterpieces.com
Blue & White 15th C. Ming Dynasty Xuande Mark & Period Painted with Phoenix, Flowers, leaves and fruit Dish. This masterpiece has been embellished and enhanced with gilt trim. They used the imported samali blue cobalt and this cobalt has a blackish tone, and when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, this confirms the age because this cobalt has not been available for over 500 years.
The Dish measures approx. 14 1/8" Dia. ppjrs
(click image to enlarge)
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100% Authentic N. Song Dynasty Official Imperial Royal Ru Kiln Porcelain Collection
there is no collection in the world that has more proof of Authenticity
Understanding "Botryoidal Malachite" Patina
Formation of Fanlike Crystal Needles
Most crystals simply begin to grow using available molecules. This results in discrete crystals whose sizes depend on available material. But malachite is different. It seldom forms discrete crystals of good size. Instead, scientists say, developing malachite crystals “split”, diverging into tiny needles, packed together in a fanlike arrangement.
The fanlike malachite needles grow into tightly bonded spherules, which crowd together and bond, forming a solid mass. When the spherules stop growing and terminate, the top surface is rounded to some degree. The terms “botryoidal” (resembling a cluster of grapes) and “reniform” (kidney-shaped) are used to describe large to small undulating masses of spherules.
Author Bob Jones Holds the Carnegie Mineralogical Award, is a member of the Rockhound Hall of Fame, and has been writing for Rock & Gem since its inception. He lectures about minerals, and has written several books and video scripts.
This is a Microscopic photo of one of the Ru Ware Fire Gilded Copper Bands, shows the "Botryoidal Malachite Patina over the reddish Cuprite."This can not be Faked. (From the book Copper and bronze in art by David Scott) (chapter 3 page 106 Malachite in bronze patinas) (The natural transition of metal to cuprite to malachite is very difficult to replicate in the laboratory. In fact, most of the recipes for producing artificial green patinas on copper alloys, such as those compiled by Hughes and Rowe (1982), do not result in malachite formation over a cuprite layer. Consequently, the existence of this type of corrosion, supported by analytical and metallographic studies, is a good indication of the authenticity of an artifact.)
WATCH
Click On Video Clip Proves Botryoidal Malachite Can't Be Faked! No one has ever faked this Botryoidal malachite patina only happens in nature. This Guaranties Authenticity Of This Imperial Royal Ru Ware Collection
Priceless Past WWW.pricelesspast.com
Link to Full Video https://youtu.be/5O-l6vY0dnc?si=FsHEJdKox0a1p0bH
Royal Imperial Ru Ware that Emperor Huizong of Song, Commissioned and Collected
During the Northern Song Dynasty Explained
Facts that were written about the Ru Kiln and Emperor Huizong in ancient writings that describe Royal Imperial Ru wares.
Emperor Huizong reigned supreme from 1100 to 1126 Emperor Huizong abdicated His throne to his son. He was known for his promotion of Taoism and talents in poetry, painting, calligraphy and music. The Jin armies were closing in and eventually took over his Song Empire and he was captured 1127 and he died in captivity in 1135, from the wealthiest man in the world to a broken man. His vast collections were gather up and stored in large wooden crates and passed down through the centuries. Since China has opened up in the 90s many old collections have reached the market place. My Royal Imperial Ru ware collection comes from Huizong's collection.
During Emperor Huizong reign he decided to commission the Ru Kiln to produce wares for himself and his court because they were giving the finest Imperial tribute wares to him out of all the kilns. The Ru Kiln Imperial tribute wares that were given to Emperor Huizong was the finest wares the Ru Kiln was producing at that time, they don't have flaws and to make them really special they used several colors and added fire gilded bands on the rim and sometimes the base also. (Fire gilding with gold and mercury, the mercury metal being driven off afterward by fire. This type of gilding hasn't been used since the mid 1800 because it's very dangerous ) on the rim and sometimes the base also. All tribute wares have the fire gilded bands that are around the rim and base and sometimes only the rim. These bands have extensive layered cuprite and malachite corrosion that only occurs in nature and can't be faked. (From the book Copper and bronze in art by David Scott) (chapter 3 page 106 Malachite in bronze patinas) The natural transition of metal to cuprite to malachite is very difficult to replicate in the laboratory. In fact, most of the recipes for producing artificial green patinas on copper alloys, such as those compiled by Hughes and Rowe (1982), do not result in malachite formation over a cuprite layer. Consequently, the existence of this type of corrosion, supported by analytical and metallographic studies, is a good indication of the authenticity of an artifact.) This started some of the other kilns to add fire gilded bands on their Imperial tribute wares also.
Before the Ru Kiln was the actual Emperor's Official Imperial kiln they were producing wares that were quite small and have sporadic crackle and were fired on stilts leaving spur marks on the base. None of these wares have crushed agate in the glaze and often these wares had flaws. The severely flawed wares were destroyed, the wares that had severe firing flaws were sold to the population for a very cheap price, These are the same wares that are being sold by Sotheby's and Christie's, and often found in Museums that have Ru ware collections. The better wares were sold to the wealthy merchants and were quite expensive. The finest wares were given as tribute to the Emperor Huizong, he had been receiving all these flamboyant wares from all the kilns. Emperor Huizong decided to commission the Ru Kiln and make them the first official Imperial Kiln in China, to create wares that would be the 1st Official Imperial wares used exclusively for himself and his court in China's history. He wanted the wares to look similar to wares from past history they had to be Celadon color and look like they were carved from jade similar color to the Koryo wares from Korea. He didn't want the wares to have spur marks after he saw the prototypes, they started firing the wares flat in the kiln with unglazed foot rings. Emperor Huizong wanted them to use Rare Blue Crushed Agate in the glaze, crushed agate has only been used in Official Imperial Ru wares that were developed by Emperor Huizong. The 1st commissioned wares the biscuit has a grayish color that turns brown after firing some of the wares have marks scratched in the base most say Feng Hua among other marks, and they all have a cracked ice crackle. Rare Blue Crushed Agate has only been used in Official Imperial Ru wares that were developed by Emperor Huizong. He wanted these wares to be larger than the Ru kiln tribute wares and very modest with simplistic refined forms often they used Trumpet formed mouths, All of these Royal Imperial 1st commissioned wares were used for the Emperor and his court only regardless of any flaws that occur in the firing process.
The Ru Kiln was now the official Imperial kiln and they focused on making Imperial wares only for the Emperor and his court. Emperor Huizong saw real beauty in these wares in spite of them often being flawed and simplistic because each piece had its own character like human beings he saw beauty. Eventually some of his Imperial advisors wanted more beautiful wares, so Emperor Huizong decided also to have the Ru Kiln produce the finest Celadon wares China has ever produce for himself and the court. The 2nd Official Royal Imperial wares Huizong commissioned are not modest they are very elegant, luxurious and beautiful with very rich glaze and the finest Celadon wares China has ever produced. These wares are all celadon in color with different tones and they also used Rare Blue Crushed Agate in the glaze in all these wares. They have very rich celadon glaze and Rare Blue Crushed Agate was included and there is no crackle in the glaze except for silver banded wares have a few lines, the forms are very exquisite, the foot rings are unglazed they were fired flat in the kiln, the biscuit is off white and turns brownish after firing, they sometimes used fire gilded copper bands on the rim and base on some special wares, they also used silver bands on the rim only on special wares that used a darkest celadon glaze these have a few lines of crackle. All 2nd commissioned official imperial wares are not marked.
All the Ru Ware that was produced before they became the official Royal Imperial kiln doesn't have agate in the glaze. All the Auction houses and Museums claim they used crushed agate in the glaze in all the Ru ware they have recorded and the say it can't be seen because it melted in the firing process, this is a totally false narrative. All the Ru ware they have recorded is not the official Imperial Ru ware that Emperor Huizong commissioned the Ru Kiln to produce for him and his court its all flawed Merchant wares. Agate melts at 1600C to 2600C degrees and the Song dynasty kilns temperature only reached 1250C degrees at best, so this is a fallacy that the crushed agate melted in the glaze, They never used agate in any merchant wares also it would be very difficult to crush agate into a complete powder this is why you can clearly see traces of the agate in the glaze using a 20x loupe or better in all official Royal Imperial commissioned Ru Wares.
I've collected this hoard of Ru/Ju wares and these wares have been hidden away since the fall on the Northern Song Dynasty and the Qianlong Emperor did not have the ability to collect such pieces, the pieces he collected were from flawed pieces that were sold to the population and the wealthy merchant class pieces the Ru Kiln was producing before they became the Official Imperial Kiln. The merchant Wares that were collected by the Qianlong Emperor during the Qing Dynasty are all that was known to exist at that time. Until collectors from the 20th century started collecting mostly flawed population Ru ware. Since the 1990s China has opened up to the world and many fine pieces and collection that were hidden have reached the market place. I realize this will clear up some of the questions about the Ru/Ju Kiln wares and Emperor Huizong reign. For many years everyone had to rely on the pieces that are from the Qianlong Emperor's collection, those pieces are very nice but they are not the real official Royal Imperial Ru/Ju wares that Emperor Huizong commissioned the Ru/Ju Kiln to produce for himself and his court.
These Ru-wares are the 1st Commissioned Official Royal Imperial wares in the history of China.
1st commissioned Royal Imperial Ru ware is explained and written about in ancient text, describing that Emperor Huizong commissioned the Ru/ Ju Kiln to produce celadon wares that would be modest, understated, simplistic and look like the wares were from the past history. Also explained that 1st commissioned Royal Imperial wares used Rare Blue Crushed Agate in the glaze mix, (this can be seen with a 20x loupe) Crushed agate has only been used in Official Royal Imperial Ru wares that were developed by Emperor Huizong. The 1st commissioned Royal Imperial wares have many unique forms that have not been seen before and this all shows the true genius of the Ru kiln artisans. The foot rings on all 1st official Ru ware are unglazed. All of the 1st Commissioned official Royal Imperial Ru wares have a fine cracked ice crackle in the glaze and these wares are also glaze on the inside. Often the 1st Commissioned official Royal Imperial Ru wares have marks scratched in the base and most say feng hua, vases often have trumpet formed mouths and they are larger than the merchant and tribute wares. 1st commissioned Official Royal Imperial Ru ware have an ash colored biscuit that turns brown after firing. All of the 1st commissioned Royal Imperial Ru Ware have a fine cracked ice crackle in the glaze, these wares are also glazed on the inside. The 1st commissioned official Royal Imperial Ru wares were made exclusively for the Emperor and his court. Emperor Huizong saw beauty in simplicity and he saw each of these pieces as a work of art regardless if they had any flaws all pieces stayed in the court, these wares clearly fulfilled his wishes. The 1st commissioned official Royal Imperial Ru-vase shows a closeup photo of a drip of glaze that stuck to the foot ring and clearly shows chips of Rare Blue Agate in the glaze and the ancient writings that explains Ru Ware is proof these are the legendary official Royal Imperial wares of Emperor Huizong of Song
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Ru Kiln Imperial Tribute wares are the finest wares they were producing and they gifted them to Emperor Huizong of Song dynasty below are three tribute vases.
The tribute wares are generally small with fire gilded over copper bands, these bands have cuprite and malachite corrosion and this guarantees its great age and is more reliable than a TL test and used by all experts to determine authenticity of an artifact and can't be faked! Tribute wares are glazed all over and they're fired on setters with prongs that hold the piece off the kiln floor. The prongs leave spur marks on the base and these marks are sesame seed size and shape. Tribute wares have a beautiful smooth glaze and they don't have any crushed agate stone in the glaze. Only Official Imperial wares have crushed Blue Agate in the glaze. The Tribute Wares either have an off white or ash colored biscuit and they are finest done merchant wares, and were given fire gilded copper bands and presented to Emperor Huizong as Tribute
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Sotheby's sold these two Flawed Northern Song Dynasty Ru Ware brush washers in Hong Kong. Now Christie's has sold a flawed Ru Ware Tea Bowl in Hong Kong. They cheated and swindled the collectors that purchased this junk.They should return the money
2nd commissioned Official Royal Imperial Ru-Wares are the finest celadon wares China ever produced.
Those imperial advisors in the Emperor's court requested finer wares so Emperor Huizong commissioned the Ru Kiln to produce the fabulous 2nd commissioned official Royal Imperial Celadon wares for him and his court, this was also written about in ancient text, The 2nd commissioned Royal Imperial wares are very elegant, luxurious and beautiful, they are larger than both the merchant wares and tribute wares and all are celadon color. All 2nd commissioned Royal Imperial wares have Rare Crushed Blue Agate in the glaze.( this can be seen with a 20x loupe). Crushed Blue Agate has only been used in Official Imperial Ru wares that were developed by Emperor Huizong. The 2nd commissioned Royal Imperial wares have many unseen unique forms that show the true genius of the Ru kiln. The 2nd commissioned Royal wares the foot rings are unglazed and they were fired flat in the kiln, and the vase shown has fire gilded over copper bands that is corroded with cup rite and malachite and this guarantees its great age and is more reliable than a TL test and used by all experts to determine authenticity of an artifact and can't be faked! All 2nd commissioned Royal Imperial wares are not marked. The 2nd commissioned Royal Imperial wares have off white biscuit that turns brownish after firing, the wares have a very rich beautiful smooth glaze without any crackle, some wares have fire gilded over copper bands and vases that have no bands also have no crackle in the glaze. All the 2nd commissioned Royal Imperial vases shown below that have a gilded over silver band have a slight bit of crackle a few lines in the glaze, All these vases have gilded silver band around the rim only, also they have a darker celadon glaze with Rare Blue Crushed Agate that can be seen with a 20x loupe. and where the gild has worn they have a thick black corrosion.
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Ru-Kiln merchant wares aren't the finest quality these were sold to the wealthy merchants, flawed wares were sold to the population at a very cheap price
Below Three Ru Kiln pieces shown are Merchant wares. The merchant Wares that were collected by the Qianlong Emperor during the Qing Dynasty are all that was known to exist until China has opened up to the world and many fine pieces and collection that were hidden have reached the market place. The merchant ware pieces are smaller than the Royal Imperial wares and they're glazed all over including the foot ring. They were fired using setters with prongs to lift the pieces off the kiln floor. Because of this they have spur marks that are sesame seed size and shape and these spur marks can only be seen on merchant wares and tribute wares. The merchant wares are not as finely done as the tribute wares because the best wares were given fire gilded copper bands and presented to Emperor Huizong as tribute.
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