Chinese Masterpieces
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Northern Song Dynasty Chai Kiln, Yaozhou Kiln, & Cizhou Kiln
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AGENT : Venizelos G. Gavrilakis, President, VENIS STUDIOS
Venizelos@chinesemasterpieces.com tel:+971 50 683 5877
The 10th Century Enigma of the Chai Kiln Meiping Vase Featuring a Fire-Gilded Rim Band
The Chai Kiln Meiping Vase, featuring a fire-gilded band around the mouth rim, has undergone cleaning while still exhibiting residual traces of reddish cuprite and greenish malachite patina. These characteristics authenticate the vase's age and are widely regarded as more reliable than a thermoluminescence (TL) test, thus serving as a trusted method among experts for verifying the authenticity of artifacts, rendering it impossible to replicate. This vase showcases a finely crafted off-white stoneware body, adorned with intricate depictions of phoenix birds amidst a cloud motif. Additionally, the vase is finished with an ivory-hued, finely crackled glaze, which is emblematic of the distinguished Chaiyao wares believed to have originated from the Shaanxi province during the 10th century. The unglazed foot ring displays flaking within the biscuit, further validating its historical significance. The vase measures approximately 6 inches in height. ppjrs
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10th Century Enigma of the Chai Kiln: Ewer Featuring Phoenix-Shaped Spout Adorned with Fire-Gilded Band at Rim
The Chai Kiln Phoenix Bird Formed Spout Ewer, featuring a fire-gilded band around the mouth rim, has undergone cleaning yet still retains traces of reddish cuprite and greenish malachite patina. These elements serve as indicators of its age and provide a more reliable assessment than thermoluminescence (TL) testing. Such patina is employed by experts in the field to validate the authenticity of artifacts, as it cannot be artificially manufactured. This ewer boasts a finely crafted, delicate off-white stoneware body, characterized by its distinctive Phoenix spout and embellished with peony motifs. The surface is coated with an ivory-hued, intricately crackled glaze, demonstrating the hallmark qualities of legendary Chaiyao wares, believed to originate from the Shaanxi province during the 10th century. The foot of the ewer remains unglazed and exhibits signs of flaking in the biscuit, further validating its antiquity. The overall height of the vase is approximately 6 1/8 inches. ppjrs
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Analysis of the 10th Century Chai Kiln Tiger Handle Vase Featuring a Fire-Gilded Band Encircling the Lobed Rim
The Chai Kiln Tiger Handle Vase, accented with a fire-gilded band encircling its lobed rim, has undergone cleaning yet retains traces of reddish cuprite and greenish malachite patina. These remnants substantiate the vase's age and serve as a more reliable indicator of authenticity than a thermoluminescence (TL) test; they are universally recognized by experts in the field as definitive markers that cannot be artificially replicated. This exquisite piece showcases a delicate off-white stoneware body, adorned with intricate depictions of peonies. It is also finished with an ivory-hued, finely crackled glaze, characteristic of the legendary Chaiyao wares believed to originate from Shaanxi Province during the 10th century. The unglazed foot ring exhibits flaking in the biscuit, further corroborating its historical provenance. The vase stands approximately 8 3/8 inches in height. ppjrs
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10th Century Artifact: The Chai Kiln Ewer with Fish-Shaped Spout and Gilded Rim Band
Joseph.Sharon@chinesemasterpieces.com
The Chai Kiln Fish-Formed Spout Ewer, featuring a meticulously applied fire-gilded band around the rim, has been thoroughly cleaned yet still retains remnants of reddish cuprite and greenish malachite patina. These characteristics serve as indicators of its age, providing a more reliable authentication method than thermoluminescence testing, and are widely recognized by experts as definitive evidence of an artifact’s authenticity, impervious to forgery. Crafted from a fine, delicate off-white stoneware, this ewer is elegantly shaped with a fish spout and adorned with motifs of lotus and water flowers. Its surface is enveloped in a fine, ivory-colored glaze exhibiting a subtle crackle pattern. Such features are emblematic of the legendary Chaiyao wares, believed to originate from the Shaanxi province during the 10th century. Additionally, the unglazed foot displays flaking in the biscuit, further confirming its historical significance. The vase stands at approximately 6 inches in height. ppjrs
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The 10th Century Enigma of the Chai Kiln Lobed Vase Featuring a Fire-Gilded Band at the Rim
The Chai Kiln Lobed Vase, featuring a fire-gilded band around the rim, has undergone cleaning but still retains encrustations of reddish cuprite and greenish malachite patina. These remnants affirm the vase's antiquity and serve as more reliable indicators of authenticity than a thermoluminescence (TL) test, a fact recognized by experts in the field since such characteristics cannot be easily replicated. This exquisite piece is constructed of a refined, delicate off-white stoneware body, with each lobe elegantly adorned with peony motifs. It is further enhanced by an ivory-hued, finely crackled glaze, a hallmark of the legendary Chaiyao wares believed to originate from Shaanxi Province during the 10th century. Notably, the unglazed foot ring exhibits flaking in the biscuit, further substantiating its age. The vase stands approximately 8.5 inches tall, making it a significant addition to any collection. ppjrs
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Northern Song Dynasty Tribute Yaozhou Kiln Imperial Pear-Shaped Vase with Fire-Gilded Bands
This exquisite vase from the Northern Song Dynasty, likely produced at the esteemed Yaozhou Kiln, is characterized by its imperial pear form. It features intricately fire-gilded bands encircling the foot and rim, enhanced by a unique encrustation of reddish cuprite and greenish botryoidal malachite, which effectively corroborates its antiquity, offering greater reliability than a thermoluminescence (TL) test. Such attributes are acknowledged by scholars as definitive indicators of authenticity, allowing for no possibility of forgery. The vessel is composed of a fine gray stoneware body, elegantly adorned with carving depicting lotus flower heads and leaves, accompanied by scalloped motifs encircling the neck and base. Its surface is enveloped in a thick, transparent glaze of finely crackled olive green, with bubbles pooling around deeply carved outlines, creating the characteristic tonal variations emblematic of Yaozhou wares from Shaanxi province, dating to the 11th and 12th centuries. The decorative engravings are executed at an angle, a purposeful design choice that accentuates the pooling effect of the glaze. The foot of the vase exhibits a slight application of glaze, though a significant portion remains unglazed, exhibiting a rich brown hue developed during the firing process. This remarkable piece stands approximately 6 1/4 inches tall. ppjrs
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Imperial Gourd-Shaped Vase from the Northern Song Dynasty, Likely a Tribute from Yaozhou Kiln, Featuring Fire-Gilded Bands
This exquisite vase from the Northern Song Dynasty features an impressive tribute Yaozhou kiln design, characterized by its gourd shape. It is adorned with fire-gilded bands around both the foot and rim, and is encrusted with reddish cuprite and greenish botryoidal malachite, which serve as undeniable indicators of its authenticity and age. Such characteristics far exceed the reliability of a thermoluminescence (TL) test and are recognized by experts as definitive markers of an object's genuineness, impervious to forgery. The vase exhibits a refined gray stoneware body, intricately carved with a motif of diamonds arranged in circles and lotus leaves encircling the neck, complemented by scalloped decoration at the base. Enveloped in a thick, transparent glaze of finely crackled olive green, the surface displays a captivating interplay of bubbles that pool around the deeply carved outlines, enhancing the depth of color. These features are emblematic of Yaozhou wares produced in Shaanxi province during the 11th and 12th centuries. The decorative elements are skillfully carved at an angle, intentionally promoting the pooling effect of the glaze. Notably, the foot of the vase has been minimally wiped with glaze; however, the majority of the surface remains unglazed, resulting in a brown coloration due to the firing process. This remarkable artifact stands approximately 6 1/4 inches in height, a true testament to the artistry and craftsmanship of its era. ppjrs
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Imperial Gourd-Shaped Vase from the Yaozhou Kiln of the Northern Song Dynasty, Accompanied by Fire Gilded Bands
This exquisite Song Dynasty tribute vase, attributed to the Yaozhou kiln, features a distinctive gourd shape adorned with fire-gilded bands encircling both the foot and rim. The vase is further embellished with reddish cuprite and greenish botryoidal malachite, serving as compelling indicators of its authenticity that surpass the reliability of thermoluminescence (TL) testing. Such attributes are universally acknowledged by experts for confirming the genuineness of artifacts, as they are inherently difficult to replicate. The vase exhibits a sophisticated gray stoneware body, intricately carved with chrysanthemum motifs around its neck and base. It is enveloped in a thick, transparent glaze that displays a fine crackle, infused with micro-bubbles that accentuate the deeply carved outlines with a darker hue. These features are emblematic of Yaozhou ceramics originating from Shaanxi Province during the 11th to 12th centuries. The decorative elements are skillfully carved at an angle to enhance the visual pooling effect created by the glaze. Notably, while the foot bears a slight trace of glaze, much of its surface remains unglazed, resulting in a brown appearance due to the firing process. This remarkable artifact measures approximately 6.5 inches in height. ppjrs
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Imperial Ovoid-Form Vase from the Northern Song Dynasty, from the Yaozhou Kiln, Adorned with Gilded Fire Bands
This exquisite vase, attributed to the Northern Song Dynasty and likely crafted at the Yaozhou kiln, exhibits an imperial ovoid form. The piece is distinguished by its fire-gilded bands encircling both the foot and rim, as well as its encrustation with reddish cuprite and greenish botryoidal malachite, which serve as strong indicators of its age. Such evidence of authenticity surpasses the reliability of a thermoluminescence (TL) test and is widely recognized by experts as a definitive measure in validating the provenance of artifacts, making it virtually impossible to replicate. The vase is constructed from a fine gray stoneware, elegantly carved with motifs of chrysanthemums and scalloped petals along the neck and base. Its surface is adorned with a thick, transparent, finely crackled olive-green glaze, which contains bubbles that accumulate around the intricately carved outlines, resulting in a darker coloration. These features are emblematic of Yaozhou wares originating from Shaanxi province during the 11th and 12th centuries. The decorative elements are intentionally carved at an angle to enhance the pooling effect of the glaze. Additionally, while the foot has been lightly wiped with glaze, most of its surface remains unglazed, resulting in a brown hue developed during firing. The overall measurements of the vase are approximately 6 1/4 inches in height. ppjrs
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Northern Song Dynasty Likely Tribute Yaozhou Kiln Imperial Spittoon-Form Vase Featuring Gilded Bands
This exquisite Northern Song Dynasty vase, likely a tribute from the Yaozhou kiln, showcases an imperial spittoon form. It features fire-gilded bands encircling the foot and rim, adorned with reddish cuprite and greenish botryoidal malachite, which serve as indicators of its age and authenticity, surpassing the reliability of a thermoluminescence (TL) test. This attribute is widely acknowledged by experts as a definitive criterion for assessing the authenticity of artifacts, rendering it virtually impossible to replicate. The vase boasts a finely crafted gray stoneware body, elegantly carved with a diamond pattern interspersed with lotus petals and leaves, prominently displayed around the neck and base. A thick, transparent glaze of finely crackled olive green envelops the piece, characterized by an array of bubbles that coalesce around the deeply carved outlines, exhibiting a darker hue. Such features are typical of Yaozhou wares from the Shaanxi province, dating to the 11th and 12th centuries. Additionally, the decor has been intentionally carved at an angle to enhance the pooling effect. The foot of the vase displays a slight application of glaze, with the majority remaining unglazed and taking on a brown hue from the firing process. The vase measures approximately 5 1/2 inches in diameter. ppjrs
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Likely Imperial Round Vase from the Yaozhou Kiln of the Northern Song Dynasty Featuring Fire-Gilded Bands
This exquisite vase, believed to be a tribute piece from the Northern Song Dynasty, exemplifies the craftsmanship of the renowned Yaozhou Kiln. It features intricately applied fire-gilded bands encircling both the foot and the rim, with encrustations of reddish cuprite and greenish botryoidal malachite, enhancing its historical value and authenticity. The presence of these materials serves as a more trustworthy indicator of age than a thermoluminescence (TL) test, which is widely acknowledged by experts for assessing the genuineness of artifacts. The vase is constructed from a fine gray stoneware body, meticulously carved with floral motifs and lotus petals adorning the neck, complemented by scalloped detailing at the base. It is finished with a dense, transparent olive green glaze, characterized by fine crackling and subtle bubbling that accentuates the deeply carved outlines with a gradient effect toward darker shades. This specific style is emblematic of Yaozhou wares produced in Shaanxi province during the 11th and 12th centuries. The decorative elements have been thoughtfully carved at an angle, enhancing the visual pooling effect. The foot of the vase exhibits a slight sheen from the applied glaze, while the majority remains unglazed, having developed a characteristic brown hue due to the firing process. The vase stands approximately 6 3/8 inches in height. ppjrs
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Imperial Pear-Form Vase from the Yaozhou Kiln of the Northern Song Dynasty Featuring Gilded Fire Bands
This exquisite Northern Song Dynasty vase, likely a tribute piece from the esteemed Yaozhou Kiln, is characterized by its elegant pear form and adorned with fire-gilded bands along the foot and rim. The embellishments feature encrusted reddish cuprite and greenish botryoidal malachite, which serve as indicators of its authenticity and age, making this piece more reliable than a thermoluminescence (TL) test. Such features are widely recognized by experts as definitive markers for verifying the authenticity of artifacts. The vase exhibits a fine gray stoneware body, intricately carved with motifs of chrysanthemums and leaves, complemented by lotus leaves encircling the neck. Its surface is coated with a thick, transparent, finely crackled olive green glaze, punctuated by bubbles that gather around the deeply carved outlines, resulting in a captivating contrast with darker hues. This decorative technique is emblematic of Yaozhou ceramics from Shaanxi province, produced during the 11th and 12th centuries. The angle of the carvings is intentionally designed to enhance the pooling effect of the glaze. Notably, while the foot of the vase has a slight application of glaze, the majority remains unglazed, having developed a brown hue during the firing process. The vase stands approximately 7 inches tall, exemplifying both artistry and historical significance. ppjrs
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Imperial Ovoid-Shaped Vase from the Yaozhou Kiln of the Northern Song Dynasty, Adorned with Gilded Bands
This exquisite Northern Song Dynasty vase, likely produced by the renowned Yaozhou kiln, presents an imperial ovoid shape, embellished with fire-gilded bands encircling both the foot and rim. The vase features distinct encrustations of reddish cuprite and greenish botryoidal malachite, which serve as indicators of its authenticity and age, offering a more reliable verification than a thermoluminescence (TL) test. Such characteristics are universally acknowledged by experts as definitive markers of artifact genuineness that cannot be replicated. The vessel is crafted from high-quality gray stoneware, elegantly carved with intricate floral motifs and lotus leaves, skillfully detailed around both the neck and base. It is coated in a thick, transparent glaze that displays a fine crackle pattern, interspersed with bubbles that collect within the deeply carved outlines, lending a darker hue to those areas. These features are indicative of Yaozhou wares from Shaanxi province, dating back to the 11th and 12th centuries. The decorations are meticulously executed at an angle, enhancing the visual impact of the pooling effect. The foot of the vase has been lightly wiped with glaze, though a considerable portion remains unglazed, presenting a brown coloration resulting from the firing process. The vase stands at approximately 10 inches in height. ppjrs
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Imperial Ovoid Vase from the Northern Song Dynasty Yaozhou
Kiln Featuring Fire-Gilded Bands
This exquisite fine art piece, attributed to the Northern Song Dynasty, is a likely tribute from the Yaozhou kiln. It features an imperial ovoid-shaped vase adorned with fire gilded bands encircling the foot and rim, encrusted with reddish cuprite and greenish botryoidal malachite. These elements not only attest to the vase's antiquity but also provide a more reliable measure of authenticity than a thermoluminescence (TL) test, a fact acknowledged by experts in the field to be definitive and resistant to forgery. The vase exhibits a distinguished gray stoneware body, intricately carved with motifs of chrysanthemum and lotus leaves around the shoulder. It is covered with a thick, transparent glaze exhibiting fine crackling, characterized by bubbles that accumulate around the deeply carved outlines, resulting in a captivating variated hue. These features are emblematic of Yaozhou wares from Shaanxi province during the 11th to 12th centuries. The decoration has been skillfully carved at an angle to enhance the pooling effect of the glaze. The foot of the vase shows evidence of a light glaze application, with the majority of the surface remaining unglazed and exhibiting a rich brown coloration resulting from the firing process. This remarkable vase measures approximately 11 1/4 inches in height. ppjrs
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Large Meiping Vase from the Yaozhou Kiln of the Northern
Song Dynasty
The exquisite Yaozhou Meiping vase from the Northern Song Dynasty features a finely crafted gray stoneware body adorned with intricately carved motifs of scrolling peonies, floral heads, and lotus leaves encircling the base. This vase is finished with a substantial, transparent olive-green glaze, exhibiting a myriad of bubbles that accumulate around the carved details, creating a gradient effect in hue. These attributes are emblematic of Yaozhou ceramics produced in Shaanxi Province during the 11th and 12th centuries. The decorative carving is executed at an angle to enhance the pooling effect of the glaze. While the foot of the vase bears a light application of glaze, the majority of the base remains unglazed, exhibiting a brown coloration resulting from the firing process, alongside evidence of flaking at the biscuit, which attests to its age. The vase stands approximately 15 inches tall.
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Prominent Northern Song Dynasty Cizhou Kiln Sgraffito Meiping
Vase Expected for Tribute
Presenting an exceptional artifact from the Northern Song Dynasty, this Cizhou Kiln sgraffito peony Meiping vase exemplifies the highest standards of craftsmanship. Standing at an impressive 22 1/2 inches, this vase is widely regarded as one of the finest examples of Cizhou meiping vases made available to the public. The piece is intricately incised with delicate leafy vines and floral motifs adorned with lappets, showcasing remarkable artistry. Its light grayish body exhibits characteristic flaking in the biscuit, further attesting to its historical significance and age. This vase is a true masterpiece within the realm of Cizhou ceramics. Should you wish to inquire further about this exquisite piece, please do not hesitate to reach out. ppjrs
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Northern Song Dynasty Cizhou Kiln Rare Five Claw Dragon
and Phoenix Meiping Vase
Northern Song Dynasty Cizhou Kiln Cizhou Five-Claw Dragon and Phoenix Meiping Vase. This vase features a white slip, accompanied by intricate black painting and incising. It may represent one of the earliest instances of the depiction of the Five-Claw Dragon and Phoenix amidst clouds on ceramic ware. The biscuit possesses a grayish buff color characteristic of stoneware and exhibits flaking, further indicating its historical significance. The vase measures approximately 13 1/2 inches in height. ppjrs
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Northern Song Dynasty Cizhou Kiln Majestic Ribbed Vase
This is a Northern Song Dynasty Cizhou Kiln Cizhou ware large ribbed vase, notable for its four handles. This rare example of Cizhou pottery exhibits expert craftsmanship, characterized by a slender, elongated form with ribs meticulously incised into the body during the throwing process. It is finished with a distinctive brownish-black glaze, demonstrating both aesthetic appeal and historical significance. Additionally, the presence of flaking in the biscuit indicates its considerable age. The vase measures approximately
17.5 inches in height. ppjrs
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Masterwork of the Northern Song Dynasty: Cizhou Kiln Large Meiping Vase Depicting a Likely Tribute to the Buddha
Northern Song Dynasty Cizhou Kiln Cizhou Ware Large Figure Meiping Vase. This exquisite vase features a white slip with black cut glaze depicting a figure of the Buddha amidst clouds and floral motifs. The biscuit showcases a grayish hue and exhibits areas of flaking, confirming its historical provenance and age. The vessel stands approximately 22 1/2 inches in height. ppjrs
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Cizhou Kiln Meiping Vase of the Northern Song Dynasty: A Likely Tribute Piece with Floral Decoration
This Northern Song Dynasty Cizhou Kiln Flowered Meiping Vase exemplifies the artistry of Cizhou ware. Featuring a distinctive black ground adorned with white glazed, carved, and incised floral motifs on a grayish biscuit, this piece exhibits slight flaking, indicative of its historical age. The vase stands approximately 14.5 inches tall, reflecting both its impressive stature and aesthetic appeal. ppjrs
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Dragon Meiping Vase from the Cizhou Kiln of the Northern
Song Dynasty
This Song Dynasty Cizhou Kiln Cizhou ware Dragon Meiping Vase features a white slip with an intricately incised black-painted dragon against a grayish buff biscuit. This particular vase may represent an early example, as subsequent pieces exhibit more elaborate dragon designs. Additionally, the presence of flaking on the biscuit attests to its age. The vase measures approximately 14 inches in height. ppjrs
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Meiping Vase from the Cizhou Kiln: Floral and Vine Motifs of the
Song Dynasty
The Song Dynasty Cizhou Kiln Meiping vase exhibits a brownish-black glaze intricately carved and incised with floral and vine motifs on a buff biscuit body. Notably, the presence of flaking in the biscuit is indicative of its antiquity. This vase stands approximately 9 ½ inches in height. ppjrs
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Masterpiece of the Northern Song Dynasty: Cizhou Kiln Tribute Meiping Vase Featuring a Majestic Leopard Design
Song Dynasty Cizhou Kiln Cizhou Ware Large Leopard Meiping Vase. This vase features a white slip adorned with intricate black cut glaze motifs of leopards and lotus leaves. The biscuit is a grayish hue, exhibiting signs of flaking that attest to its age. The vessel stands approximately 22 1/2 inches tall. ppjrs
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Meiping Vase Featuring Kylin and Floral Motifs from the Northern
Song Dynasty Cizhou Kiln
This Northern Song Dynasty Cizhou Kiln Meiping vase, featuring an elegant brownish-black cut glaze decoration, exemplifies the artistry of its period. The body of the vase is composed of a buff-colored biscuit, and it bears a mark on the base indicative of its provenance. Notably, there is some flaking present in the biscuit, thereby attesting to the vase's significant age. The vase stands approximately 15 inches tall. ppjrs
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Cizhou Kiln Flowered Vessel with Handles from the Northern
Song Dynasty
Northern Song Dynasty Cizhou Kiln Flowered Vessel with Handles. This vessel features a white slip adorned with elegantly executed black cut-glaze floral motifs, including lotus leaves. The biscuit demonstrates a grayish buff hue and exhibits flaking, a testament to its aged character. The vessel stands approximately 14.5 inches in height. ppjrs
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Yuan Dynasty Jizhou Kiln Vessels: Reverse-Painted Floral
Pear-Shaped Vase
The presented artifact is a reverse-painted pear-shaped vase from the Yuan Dynasty, originating from the Jizhou Kiln. This vase features an intricate design of lotus and chrysanthemum flowers enveloped by vines. Its surface is adorned with a white slip, subsequently enhanced with black pigment, resulting in a striking visual contrast. The presence of flaking in the biscuit layer further attests to the vase's historical provenance. Constructed from buff stoneware, this piece stands approximately 14 inches tall, exemplifying the artistry and craftsmanship characteristic of its period. ppjrs
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Yuan Dynasty Jizhou Kiln Double Gourd Vase Featuring Four Panels
Adorned with Sprigs and Buds
Yuan Dynasty Jizhou Kiln - The Double Gourd Vase features an off-white slip adorned with intricate black decorations. It is elegantly designed with four distinct panels, each showcasing sprigs and buds. The biscuit exhibits a buff coloration, accompanied by noticeable flaking, which attests to its historical significance. The vase stands at an approximate height of 11 1/2 inches. ppjrs
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Navigate Chinese Masterpieces Site Just Select Pages Below
The Inaugural Ceramics Commissioned by the Emperor in Chinese History: Guaranteed 100% Authenticity from the Northern Song Dynasty's Official Imperial Royal Ru Kiln Porcelain Collection – An Unmatched Provenance of Authenticity.
For All Enquiries Please Contact AGENT : Venizelos G. Gavrilakis, President,VENIS STUDIOS
Email Venizelos@ChineseMasterPieces.com
tel:+971 50 683 5877
I began my collection in the 1970s, and in the 1990s, I focused on acquiring an exceptional array of artworks from private Chinese sources. These sources faced severe persecution for possessing collections that were ancestral heirlooms, predating the Communist era. Among my holdings is the Official Commissioned Imperial Royal Ru Kiln Collection, originating from the collection of Emperor Huizong of the Northern Song Dynasty.
This collection features unique pieces that stand unparalleled in significance, as many of these forms have been previously unseen. The condition of these works is pristine; they are certified 100% authentic, with verifiable characteristics including cuprite and malachite corrosion on the fire-gilded copper bands, which took approximately 900 years to develop. This corrosion is readily observable with the naked eye, as is the crushed agate within the glaze, which can be examined with a 20x loupe. Despite the proliferation of Ru ware across the internet, numerous auction houses continue to erroneously classify these original pieces as fakes, perpetuating misinformation. It is essential to note that only Commissioned Official Royal Imperial Ru wares are genuinely rare. These pieces are not widely available online, and no Royal Imperial Ru wares have ever been offered at auctions. Any skepticism about the authenticity of these wares can be dispelled by recognizing that it would be impossible for any contemporary kiln in China to replicate such masterpieces. Throughout history, the only kiln capable of producing works of this caliber was the Royal Ru Kiln during the Northern Song Dynasty under Emperor Huizong. The second commissioned wares, characterized by unglazed foot rings that were fired flat in the kiln, include the featured Cong vase, which showcases fire-gilded copper bands exhibiting the aforementioned corrosion. The authenticity of these pieces is evident in their cuprite and malachite corrosion, which is readily visible, as well as the crushed agate in the glaze, identifiable with a 20x loupe. Expertise is not a prerequisite for recognizing these facts. It is important to highlight that all second-commissioned wares lack markings and possess an off-white biscuit that turns brownish upon firing. These wares are distinguished by their luxurious, smooth glaze, free from crackle, and display unique features such as fire-gilded copper bands. In my estimation, these second-commissioned wares represent the finest celadon wares and the most significant wares in China’s historical legacy. Emperor Huizong of the Northern Song Dynasty reigned from 1082 to 1135.
Examine and Review the Information Provided Below Thoroughly
The following series of close-up photographs presents the Cuprite and Malachite corrosion observed on the RU WARE copper fire-gilded bands. It is important to note that fire gilding, a process involving the application of gold and mercury, has not been employed since the mid-19th century due to its associated health risks. The characteristic patina visible on these bands has developed over approximately 900 years, rendering it virtually impossible to replicate artificially (referenced from David Scott's "Copper and Bronze in Art," Chapter 3, page 106). The natural progression from metal to cuprite and subsequently to malachite is complex and challenging to reproduce in a laboratory setting. Indeed, most methodologies for generating artificial green patinas on copper alloys, such as those catalogued by Hughes and Rowe (1982), do not yield malachite formation over a cuprite substrate. As such, the identification of this specific type of corrosion, corroborated by analytical and metallographic investigations, serves as a strong indicator of an artifact's authenticity. Additionally, microscopic images reveal the presence of minute reflective particles of crushed agate incorporated into the RU WARE glaze. Such reflections can also be discerned with a 20x loupe, with further evidence available in the microscopic photographs adjacent to each artifact image. Notably, only the Imperial Ru Wares that were officially commissioned feature crushed agate in their glaze. Pieces sold by auction houses typically do not exhibit this characteristic, as agate was not utilized in merchant wares. The finest merchant wares, equipped with fire-gilded copper bands, were presented as tributes to the Emperor. Meanwhile, flawed merchant wares were sold at reduced prices to the general populace, and those with severe defects were often destroyed. During the reign of Emperor Huizong, significant efforts were made to establish the Ru Kiln as a premier production facility for his personal commissions and those of his court, effectively designating it as the Official Royal Kiln. He specifically mandated the inclusion of rare blue agate in the glazes of all commissioned wares. These official pieces are generally larger and exhibit distinctive styles, forms, and glazes, many of which remain unparalleled in contemporary collections. Archaeological findings have confirmed the location of the Ru Kiln associated with merchant wares predating Emperor Huizong's commissions; however, the site of the Official Royal Ru Kiln has yet to be located.
Following the incursion of the Jin Army into the Northern Song Dynasty, it is believed that many Imperial Royal Kiln artisans migrated southward, with approximately half joining the Imperial Guan Kilns and the other half working at the Longquan Kiln. This migration contributes to the stylistic similarities observed between the renowned second-commissioned Royal Ru Kiln wares and those produced at Longquan. Notably, however, Longquan wares lack the crushed agate incorporation that characterizes the official Ru Wares.
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Below are 48 examples of Official Imperial Royal Ru Wares and Tribute Ru Ware Vases
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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.)
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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
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Link to Full Video https://youtu.be/5O-l6vY0dnc?si=FsHEJdKox0a1p0bH
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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Ru Kiln Imperial Tribute Wares: Exceptional Artifacts Presented to Emperor Huizong of the Northern Song Dynasty, Featuring Right
Three Exemplary Tribute Vases.
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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