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Joseph.Sharon@chinesemasterpieces.com
www.ChineseMasterpieces.com
ABSOLUTE PROOF OF AUTHENTICITY ! (Northern Song Dynasty 1st Ru Kiln Tribute Ru Wares)
Groundbreaking Discovery Challenges the Established History of Ru Ware
[Cherry Hill NJ 05/25/2025] – A shocking revelation in the world of ancient Chinese ceramics is set to disrupt the established understanding of Ru ware, one of the most prized ceramics of the Song Dynasty. Independent researcher and collector [Joseph Sharon] has uncovered irrefutable evidence proving that Imperial Ru wares incorporated crushed blue agate in their glazes and fire-gilded bands on their rims and bases—features that have been systematically ignored by museums and auction houses.
With a personal collection of over 300 pieces and extensive microscopic imaging evidence, [Joseph Sharon] has repeatedly attempted to present these findings to leading institutions, only to be met with silence and resistance.
Microscopic Evidence Exposes Long-Held Myths
Through high-resolution microscopic analysis, the presence of blue agate within Ru ware glazes has been confirmed. This contradicts the long-held claim that no such material remained after firing or was used in Song Dynasty ceramics. Agate, with its unique melting properties, remains intact within the glaze, creating a distinctive and recognizable effect that is scientifically impossible to replicate artificially.
Furthermore, many of these artifacts feature fire-gilded bands, a lost technique using a gold and mercury mixture that corrodes naturally over time, forming cuprite and botryoidal malachite—a signature of genuine Imperial wares. This technique has not been in use since the mid-1800s due to safety concerns, further proving the age and authenticity of these artifacts.
Resistance from Museums and Auction Houses
Despite sharing detailed analyses and microscopic photographs, leading auction houses and institutions, including the Palace Museum in Taiwan, have refused to examine the collection. The implications of this research challenge the credibility of millions of dollars' worth of past Ru ware sales, many of which were misattributed merchant-grade wares.
"The art world must prioritize historical accuracy over institutional reputations and market interests," says [Joseph Sharon]. "Refusing to engage with this evidence is a disservice to scholarship and collectors alike."
Call to Action: Seeking Open-Minded Scholars and Institutions
[Joseph Sharon] invites independent researchers, universities, and institutions to examine the collection and conduct independent testing to validate these findings.
In an effort to bring transparency to the art and research world, a new website is set to launch, showcasing high-resolution microscopic images, detailed reports, and side-by-side comparisons with known Ru ware artifacts.
History must be shaped by evidence, not by the reluctance of institutions to admit past mistakes. The time for truth is now.
For media inquiries, interview requests, or collaboration opportunities, please contact:
[Joseph Sharon]
[E-MAIL
Joseph.Sharon@chinesemasterpieces.com]
WEBSITE [https://www.chinesemasterpieces.com]
[Joseph Sharon] is a dedicated independent researcher and collector specializing in Song Dynasty ceramics. With an extensive collection and a passion for uncovering historical truths, [Joseph Sharon] has spent years analyzing and documenting evidence that challenges conventional narratives. Through scientific analysis and meticulous research, their goal is to bring long-overdue transparency to the world of ancient Chinese ceramics.
Chinese Ancient fine art at 1st Ru Kiln Imperial Tribute wares are the finest wares they were producing at that time and they gifted these
wares to Emperor Huizong of the Northern Song Dynasty.
All tribute wares are generally small with fire gilded over copper bands, these bands have cuprite and malachite corrosion and this guarantees their 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 wares that Chinese Emperor Huizong commissioned and helped developed. the Official Imperial Royal wares have crushed agate in the glaze. The Tribute Wares either have an off white or ash colored biscuit and they are much finer done than the merchant wares. All the Ru wares that are recorded in museums and collections do not have agate in the glaze, they say it can't be seen because it melted. This is a false narrative the pieces that are in museum and collection that they have recorded are generally flawed merchant wares and they never had agate in the glaze only Official Imperial Royal Ru Wares have agate in the glaze this can be seen with a 20x loupe.
Groundbreaking Discovery Challenges the Established History of Ru Ware
[Cherry Hill NJ 05/25/2025] – A shocking revelation in the world of ancient Chinese ceramics is set to disrupt the established understanding of Ru ware, one of the most prized ceramics of the Song Dynasty. Independent researcher and collector [Joseph Sharon] has uncovered irrefutable evidence proving that Imperial Ru wares incorporated crushed blue agate in their glazes and fire-gilded bands on their rims and bases—features that have been systematically ignored by museums and auction houses.
With a personal collection of over 300 pieces and extensive microscopic imaging evidence, [Joseph Sharon] has repeatedly attempted to present these findings to leading institutions, only to be met with silence and resistance.
Microscopic Evidence Exposes Long-Held Myths
Through high-resolution microscopic analysis, the presence of blue agate within Ru ware glazes has been confirmed. This contradicts the long-held claim that no such material remained after firing or was used in Song Dynasty ceramics. Agate, with its unique melting properties, remains intact within the glaze, creating a distinctive and recognizable effect that is scientifically impossible to replicate artificially.
Furthermore, many of these artifacts feature fire-gilded bands, a lost technique using a gold and mercury mixture that corrodes naturally over time, forming cuprite and botryoidal malachite—a signature of genuine Imperial wares. This technique has not been in use since the mid-1800s due to safety concerns, further proving the age and authenticity of these artifacts.
Resistance from Museums and Auction Houses
Despite sharing detailed analyses and microscopic photographs, leading auction houses and institutions, including the Palace Museum in Taiwan, have refused to examine the collection. The implications of this research challenge the credibility of millions of dollars' worth of past Ru ware sales, many of which were misattributed merchant-grade wares.
"The art world must prioritize historical accuracy over institutional reputations and market interests," says [Joseph Sharon]. "Refusing to engage with this evidence is a disservice to scholarship and collectors alike."
Call to Action: Seeking Open-Minded Scholars and Institutions
[Joseph Sharon] invites independent researchers, universities, and institutions to examine the collection and conduct independent testing to validate these findings.
In an effort to bring transparency to the art and research world, a new website is set to launch, showcasing high-resolution microscopic images, detailed reports, and side-by-side comparisons with known Ru ware artifacts.
History must be shaped by evidence, not by the reluctance of institutions to admit past mistakes. The time for truth is now.
For media inquiries, interview requests, or collaboration opportunities, please contact:
[Joseph Sharon]
[E-MAIL
Joseph.Sharon@chinesemasterpieces.com]
WEBSITE [https://www.chinesemasterpieces.com]
[Joseph Sharon] is a dedicated independent researcher and collector specializing in Song Dynasty ceramics. With an extensive collection and a passion for uncovering historical truths, [Joseph Sharon] has spent years analyzing and documenting evidence that challenges conventional narratives. Through scientific analysis and meticulous research, their goal is to bring long-overdue transparency to the world of ancient Chinese ceramics.
Chinese Masterpieces
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 Ru wares.
Authenticating Ming Dynasty Imperial Chenghua Blue & White and Doucai Wares Will Show Several of the Finest Chenghua Masterpieces ever published at https://www.chinesemasterpieces.com
"Authenticating Closeup Proof" Northern Song Dynasty  Yaozhou Kiln & Cizhou Kiln
ABSOLUTE PROOF OF AUTHENTICITY! N.Song Dynasty 1st & 2nd Comm. Royal Ru Kiln Wares
Most Important Chinese Art In the World !!! (Emperor Huizong's Royal Ru Kiln Porcelain Collection )
ChineseMasterpiece Qing Dynasty Qianlong Marked & Period Famille Rose Vase SALE contact me Joseph.Sharon@chinesemasterpieces.com
These Exquisite Masterpieces Falangcai Famille Rose Vases are very thinly potted,and they were decorated in the Forbidden City in Beijing during the Yongzheng period 1723 to 1735. These vases were painted using Falangcai enamels and it is said that the Emperor himself oversaw the manufacture of these wares. It took such skill and control to create these Vases, Look close and you will understand what a true Chinese Ceramic Masterpiece looks like. It's important to look carefully and zoom in on the leaves, flowers, and branches you will see the detail, colors, and shading that gives balance and depth to these Vases. Collectors must learn to recognize the differences of a good piece compared to great piece or masterpieces. Most Qing Pieces if you look close at them you will see and understand they were painted by less skilled artist, they will look flat without balance, detail or depth. Pay attention to the details and color balance and shading this will help you to see and understand the difference. These vases
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
The Official Commissioned Royal Imperial
Ru Ware Collection From The Northern Song Dynasty Emperor Huizong's Personal Collection
These 2nd commissioned wares the foot rings are unglazed and they were fired flat in the kiln, and this vase shown has fire gilded over copper bands that are corroded with cup-rite and malachite. It's 100% authentic and easy to prove because of the cup-rite and malachite corrosion that takes about 900 years to develop on the fire gilded copper bands and everyone can see this easily with your own eyes also the crushed agate in the glaze can be seen with a 20x loupe! You don't have to be an expert to understand this.
I speak out to expose the corruption that permeates the entire fine Asian art market in America and the World. I started collecting in the 70s and in the 90s I began to put together a very fine collection from private Chinese sources that risk severe persecution just owning their collections that were passed down by ancestors that were in power long before the Communist.
