Northern Song Dynasty Ding Kiln Tribute Wares

Imperial Kundika Vessel Crafted from White Ware at the Ding Kiln 
During the Northern Song Dynasty 

The Northern Song Dynasty Ding Kiln white ware Imperial Kundika vessel is characterized by its decorative floral motifs encircling the body and is embellished with an ivory-colored, translucent glaze over an off-white substrate, revealing distinct tear streaks within the glaze. The fire-gilded bands, which adorn both the rim and base, exhibit porosity and are layered with reddish cuprite and greenish botryoidal malachite corrosion, a result of the porous nature of the gilding. This corrosion serves as a testament to the vessel's age and is considered more reliable than thermoluminescence (TL) testing, as it is a criterion recognized by experts for the authentication of historical artifacts. The vessel is unmarked, suggesting its potential role as a tribute piece due to the presence of the fire-gilded bands. The dimensions of the vessel are approximately 12 3/4 inches in height. ppjrs 

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Northern Song Dynasty Imperial Ding Kiln White Porcelain with 
Floral Motifs and Attached Handles

Northern Song Dynasty Ding Kiln White Ware Imperial Vase, featuring elegantly attached flowers and handles adorned with delicately incised floral motifs on the body. This exquisite vase exhibits an ivory-colored transparent glaze that overlays a soft white body, revealing tear streaks indicative of its artisanal quality. The fire-gilded bands encircling the rim and base are characterized by porosity and exhibit subtle layers of reddish cuprite and greenish botryoidal malachite corrosion, a testament to its age. Such corrosion provides a more reliable indication of authenticity than thermoluminescence testing, a fact well-recognized among experts in the field of artifact authentication. This vase bears a distinctive mark and serves not only as a functional vessel but also as a tribute piece, underscored by its elaborate gilded bands. The vase stands approximately 10 3/4 inches in height. ppjrs 

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Tributary Imperial Ding Kiln White Ware Vase from the Northern

Song Dynasty

The Northern Song Dynasty Ding Kiln White Ware Imperial Bottle Vase is an exemplary artifact, characterized by its incised motifs of leaves and flowers, complemented by attached strips of bamboo adorning its body. The vase features an ivory-colored transparent glaze over an off-white body, exhibiting distinctive tear streaks within the glaze. Notably, the fire-gilded bands encircling the rim and base are porous, displaying layers of reddish cuprite and greenish botryoidal malachite corrosion, indicative of the piece's age. This natural patina serves as a more reliable authentication method than a thermoluminescence (TL) test and is acknowledged by experts in the field for its ability to verify the authenticity of artifacts. This vase is not marked and is likely a tribute piece due to the design elements of the fire-gilded band. It stands approximately 11 inches tall, reflecting the craftsmanship and artistic significance of its era.  ppjrs 

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Northern Song Dynasty Tribute Official Ding Kiln White 
Porcelain Vase with Handles 

**Northern Song Dynasty Ding Kiln White Ware Imperial Vase** This exquisite Imperial Vase from the Northern Song Dynasty showcases intricate incised leaf and floral motifs, complemented by elegantly attached handles. The vase is characterized by its ivory-colored transparent glaze, which envelops an off-white body exhibiting distinctive tear streaks. Noteworthy are the fire-gilded bands adorning both the rim and base of the vase. These porous bands display layering of reddish cuprite and greenish botryoidal malachite corrosion, a phenomenon that has developed due to the porosity of the gilt. This natural patina not only attests to the piece's considerable age but also serves as a more reliable indicator of authenticity than Thermoluminescence (TL) testing, as corroborated by experts in the field of artifact authentication. Furthermore, the vase is appropriately marked and is recognized as a tribute piece due to its distinctive fire-gilded banding. The overall dimensions of this remarkable artifact are approximately 11 1/4 inches in height. ppjrs 

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An Analysis of Royal Imperial Ru Ware Commissioned and Collected by Emperor Huizong of the Song Dynasty During the Northern Song Period. ppjrs

Ancient Treasures: Ru Kiln Secrets Revealed!

Emperor Huizong reigned from 1100 to 1126, during which time he abdicated in favor of his son. He is renowned for his advocacy of Taoism and is celebrated for his exceptional talents in poetry, painting, calligraphy, and music. However, his Northern Song Empire ultimately succumbed to the advancing Jin armies, leading to his capture in 1127. Huizong died in captivity in 1135, having transitioned from the status of the world's wealthiest individual to that of a diminished man. After his death, his extensive collections were meticulously consolidated and preserved in large wooden crates, enduring through time. 

Since China's opening in the 1990s, various historical collections have entered the marketplace. Notably, my collection of Imperial Ru ware originates from Emperor Huizong's personal assemblage. During his tenure, he commissioned the Ru Kiln to produce wares specifically for himself and his court, recognizing it as the foremost source of Imperial tribute wares. The tribute wares produced by the Ru Kiln during this era were distinguished by their remarkable quality, often devoid of defects. To further enhance their uniqueness, these wares incorporated a variety of colors and featured fire-gilded bands on the rims, occasionally on the bases. The gilding technique utilized gold and mercury, a method that has not been employed since the mid-1800s due to safety concerns. The intricacies of the fire gilded bands display complex corrosion patterns of cuprite and malachite, natural phenomena that are exceedingly difficult to replicate in laboratory settings. Established research underscores the challenges associated with the transformation from metal to cuprite to malachite, with most synthetic formulas failing to replicate malachite atop cuprite layers, thereby providing validation for the authenticity of such artifacts. 

This innovation inspired other kilns to adopt similar techniques, incorporating fire-gilded bands in their tribute wares. Before the Ru Kiln attained its designation as the official Imperial kiln, its production primarily consisted of small wares that exhibited sporadic crackling and spur marks due to the firing process on stilts. Many of these pieces contained imperfections, resulting in the destruction of severely flawed items and the sale of lesser-quality wares to the public at reduced prices. Such flawed wares frequently appear in auctions conducted by Sotheby's and Christie's and are often showcased in museums housing Ru ware collections. Higher-quality pieces were sold at premium prices to affluent merchants. The finest wares were presented as tribute to Emperor Huizong, who received extravagant offerings from various kilns. Recognizing the demand for superior quality wares, Emperor Huizong designated the Ru Kiln as the first official Royal Imperial kiln in China.

His objective was to create wares that were distinctive and specifically intended for himself and his court. He sought pieces that echoed the historical celadon wares, aiming for a jade-like aesthetic reminiscent of Korean Koryo ceramics. After reviewing prototype pieces, he insisted on eliminating spur marks by firing the wares flat in the kiln with unglazed foot rings. Furthermore, he mandated the incorporation of rare blue crushed agate into the glaze, a feature unique to the official Royal Imperial wares commissioned by him. The initially commissioned wares displayed a grayish biscuit that transitioned to brown post-firing, with some pieces bearing inscriptions. These wares featured distinctive crack ice crackles. Emphasizing size and simplicity, these pieces were larger than previous tribute wares and showcased refined forms, such as trumpet-shaped mouths. Despite occasional flaws during the firing process, these Royal Imperial wares were exclusively designated for the Emperor and his court. As the official Imperial kiln, the Ru Kiln's focus was solely on producing wares for the Emperor and his court. Huizong appreciated the intrinsic beauty of these often flawed and simplistic pieces, recognizing their individuality akin to human character. 

However, some of his advisors sought more visually appealing wares. Consequently, he tasked the Ru Kiln with creating the most exquisite celadon wares ever produced in China, emphasizing elegance and luxury in design. The second series of official Royal Imperial wares manifested in various celadon hues, adorned with rich glazes that seamlessly integrated rare blue crushed agate. Unlike the initial batch, these wares were meticulously crafted and largely free from prior defects, with exquisite forms and flat-fired unglazed foot rings. Selected special wares featured gilded copper or silver bands, enhancing their opulent appearance. Importantly, all second commissioned official Royal Imperial wares lacked specific markings. It must be emphasized that wares produced before the Ru Kiln’s designation as the official Imperial kiln do not contain agate in their glazes. Certain auction houses and museums mistakenly claim the presence of crushed agate in these earlier wares, fabricating narratives that assert its dissipation during the firing process. This assertion is fundamentally flawed, as agate requires excessively high temperatures for melting—far exceeding the maximum temperatures reached by Song dynasty kilns. Additionally, the practical difficulties associated with crushing agate into a fine powder contribute to the clear visibility of agate traces in authentic Royal Imperial Ru wares. 

I have compiled a significant collection of Ru and Ju wares, artifacts that have remained largely concealed since the decline of the Northern Song Dynasty. The Qianlong Emperor's collection predominantly comprised flawed merchant wares developed before the Ru Kiln's establishment as the official Royal Imperial kiln. It is only since the 20th century and the reopening of China that many fine pieces, once obscured from view, have entered the marketplace. This narrative seeks to illuminate the complexities surrounding Ru and Ju Kiln wares in the context of Emperor Huizong's reign. For many years, scholars and collectors have relied on pieces from the Qianlong Emperor's collection; while aesthetically appealing, they do not accurately represent the authentic Royal Imperial Ru and Ju wares commissioned by Huizong for himself and his court. 

In the aftermath of the Jin Army's incursion into the Northern Song Dynasty, workers from the Imperial Royal Kiln sought refuge in the southern region, with many likely contributing their skills to the Imperial Guan Kilns, while others joined the Longquan Kiln. Notably, this lineage accounts for the visual similarities observed between certain Longquan pieces and the second commissioned Royal Ru Kiln wares, although the Longquan products lack the characteristic crushed agate present in the latter's glazes.

Please examine all the information, photos, microscopic photos, that prove my conclusion.

The Ru-Wares Represent the First Commissioned Official Imperial Ceramics within China's Historical Context.

The first commissioned Royal Imperial Ru ware is thoroughly documented in historical texts, which indicate that Emperor Huizong instructed the Ru/ Ju Kiln to produce celadon wares characterized by modesty, understated elegance, and a deliberate simplicity that evokes a sense of antiquity. Notably, these initially commissioned Royal Imperial wares incorporated Rare Blue Crushed Agate into the glaze formulation. This can be discerned through the use of a 20x loupe, and microscopic photographs reveal the distinctive specks of agate found in each piece. The use of crushed agate is exclusive to the Official Royal Imperial Ru wares developed under Emperor Huizong's patronage. These early commissioned wares exhibit a variety of unique forms previously unseen, showcasing the remarkable skill and artistry of the Ru kiln artisans. The foot rings of all first official Ru wares remain unglazed. Additionally, each piece features a fine, cracked ice crackle in the glaze, with interior glazing also present. Many of these wares have marks inscribed on the bases, often inscribed, and the vases typically feature trumpet-shaped mouths, distinguished by their larger dimensions compared to merchant and tribute wares. The first commissioned Official Royal Imperial Ru wares are crafted from an ash-colored biscuit that transforms to brown upon firing. Furthermore, each piece exhibits the signature fine cracked ice crackle in the glaze, maintaining consistent interior glazing. Exclusively produced for the Emperor and his court, these wares reflect Emperor Huizong's appreciation for beauty in simplicity. He regarded each piece as an artwork, embracing any imperfections, which ultimately remained within the court as evidence of his vision's fulfillment. An illustrative close-up of a first commissioned Official Royal Imperial Ru vase depicts a droplet of glaze adhering to the foot ring, highlighting chips of Rare Blue Agate within the glaze. The accompanying ancient writings affirm the historical significance of these pieces as the legendary Official Royal Imperial wares commissioned by Emperor Huizong of the Song Dynasty. ppjrs

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Tribute ware is typically small, characterized by its fire-gilded copper bands, which exhibit corrosion patterns of cuprite and malachite. These distinctive features serve as reliable indicators of their age, often considered more authentic than thermoluminescence (TL) tests, earning the trust of experts in the field for authenticity verification. The production of tribute wares involves a glazing process that encompasses the entire surface. Notably, the pieces are fired on setters equipped with prongs to elevate the items above the kiln floor, resulting in spur marks on the base that are approximately the size and shape of sesame seeds. The glaze on tribute wares is smooth and showcases no inclusion of crushed agate in the glaze. It is important to note that the presence of crushed blue agate in the glaze is exclusive to Commissioned Official Royal Imperial wares. Typically, tribute wares feature either an off-white or ash-colored biscuit, representing the finest quality merchant wares that were adorned with fire-gilded copper bands and presented as tribute to Emperor Huizong. ppjrs

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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 should return the money

Second Commissioned Official Royal Imperial Ru-Wares Represent the Pinnacle of Celadon Production in China.

The Ru Kiln was commissioned to produce the exquisite second series of official Royal Imperial Celadon wares for Emperor Huizong and his court. These wares are characterized by their elegance, luxury, and aesthetic beauty, surpassing both merchant and tribute wares in refinement and size, while consistently showcasing a distinctive celadon hue. Notably, all pieces from this second series are infused with rare crushed blue agate within their glaze, an element observable through a 20x loupe, as evident in the microscopic photographs accompanying each piece. The use of crushed blue agate is exclusive to the Official Imperial Ru wares developed during Emperor Huizong’s reign. Furthermore, these second commissioned Royal Imperial wares exhibit a variety of unique forms that underscore the exceptional craftsmanship of the Ru kiln. The foot rings of these wares are unglazed and were intentionally fired flat within the kiln. Two vases feature fire gilding over copper bands exhibiting corrosion from cuprite and malachite, which serves as a reliable indicator of the artifact's age, more credible than thermoluminescence (TL) tests and widely acknowledged by experts to verify authenticity—an attribute that is impossible to replicate. It is important to note that all second-commissioned Royal Imperial wares are unmarked. They possess an off-white biscuit that transitions to a brownish tone post-firing. The wares exhibit a rich, smooth glaze with no crackling, while some pieces feature fire gilding over copper bands, and those without bands likewise maintain a flawless glaze. The vase displayed, adorned with a gilded silver band, shows minimal cracking, restricted to a few fine lines. The gilded silver band, exhibiting a darker celadon glaze enhanced with rare blue crushed agate, is visible under magnification. The fire gilding on silver bands has pores in the gild, allowing tarnish to seep through the pores, resulting in pronounced black corrosion on the bands. ppjrs

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Ru-Kiln merchant wares are distinguished by their fine quality; however, they are primarily positioned in the market for affluent merchants, while items with imperfections are made available to the broader public at substantially lower prices.

 The three Ru Kiln pieces displayed are examples of Merchant wares. Previously, the only known specimens of such wares were those collected by the Qianlong Emperor during the Qing Dynasty. However, following China's integration into the global market, numerous exquisite pieces and collections that had been concealed have now become accessible. Merchant wares are typically smaller than Commissioned Royal Imperial wares and exhibit complete glazing, including the foot ring. These items were fired using setters equipped with prongs, which elevated the pieces above the kiln floor. Consequently, they display spur marks that are approximately the size and shape of sesame seeds—distinctive traits that are exclusive to merchant and tribute wares. It is important to note that merchant wares lack the refinement of tribute wares, as the most exquisite examples were adorned with fire-gilded copper bands and presented to Emperor Huizong as tribute. ppjrs

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