3ef0804aaf40429daead5f9714e7c0dc

Significantly Important Qianlong Imperial Marked and Period Incised Mirror Black Glazed Bowl

Thu, 17 Jul 2025 21:13:20 GMT

Significantly Important Qianlong Imperial Marked and Period
Incised Mirror Black Glazed Bowl

This exceptionally refined Imperial Qianlong marked and period Mirror Black Glazed Bowl, dating from 1736 to 1795, features intricately incised architectural and landscape decorations, which are meticulously highlighted with gold. This piece represents the most outstanding example of its kind currently available on the open market. We encourage you to consult various auction catalogs and reference materials to identify any comparable black glazed items; it is likely you will find none that match this masterpiece. Each incised line is executed with remarkable precision, nearly as fine as a human hair. The true artistry of this bowl cannot be fully appreciated through photographs; it must be experienced in person to grasp the extraordinary skill and control required for its creation. The form of the bowl is exquisite, and one can observe the glaze delicately thinning at the rim, revealing the underlying white biscuit. Aspiring collectors should educate themselves on differentiating between quality pieces and exceptional masterpieces. A closer examination of many Qing Dynasty artifacts often reveals that they were crafted by less proficient artisans, resulting in a lack of balance, detail, and depth. Attention to detail, color balance, and shading is essential for appreciating these nuances. The Qianlong seal mark is aligned with the front of the bowl, a customary practice of the Qianlong period, which is widely acknowledged as the zenith of Chinese porcelain artistry. This bowl measures approximately 9 3/16 inches in diameter.

Https://www.chinesemasterpieces.com

Famille Rose Guan Vessel from the Qianlong Period of the Imperial Qing Dynasty

Thu, 17 Jul 2025 20:59:49 GMT

Master Work Famille Rose Guan Vessel from the Qianlong Period of the Imperial Qing Dynasty

This Qianlong Famille Rose Guan-formed vessel represents the pinnacle of Chinese Famille Rose enamel porcelain artistry. It is arguably one of the finest examples ever documented and made available for acquisition. I invite you to reference your scholarly texts, explore auction catalogs, and consult major museums worldwide in search of a piece that may rival its unparalleled beauty and craftsmanship. The complexity of this vessel is remarkable, warranting an in-person examination to fully appreciate its exquisite details. The vessel features a multi-layered decorative scheme, with an elegant form defined by a striking blue ground that has been incised in a subtle wave-like pattern and subsequently adorned with gold accents. Scattered across the surface are delicate rose-colored blossoms that enhance its allure. The central panels exhibit masterful brushwork, showcasing branches embellished with blooming flowers and two magpie birds, all executed with an astonishing level of control—many strokes appearing to be applied with a single hair, a detail that becomes evident upon close inspection with a loupe. The panels are framed in iron red, while two leaves, also in iron red, bear intricately painted depictions of a cricket and a grasshopper. Two gold phoenix handles elevate the vessel's design, complemented by meticulously applied droplets of white enamel that accentuate the iron red throughout the piece. The interior and base are finished in a stunning turquoise hue. The color palette adheres to the esteemed Qianlong Famille Rose tradition, and the underside bears the Qianlong mark—positioned in alignment with the main panels, a characteristic typical of Imperial Qianlong pieces. Standing at 7 5/8 inches tall, this vessel epitomizes the high standards set for true masterpieces of Chinese porcelain. For any inquiries regarding this exceptional vessel, please do not hesitate to reach out.

https://www.chinesemasterpieces.com

Qing Dynasty Vase Featuring Hundred Cranes, Accompanied by Qianlong Seal Mark and Period Designation

Thu, 17 Jul 2025 20:42:01 GMT

Qing Dynasty Vase Featuring Hundred Cranes, Accompanied by Qianlong Seal Mark and Period Designation

We proudly present a rare and significant famille rose vase, expertly crafted in hu form during the Qing dynasty, specifically in the Qianlong period (1736-1795). This exceptional artifact features a six-character seal mark in underglaze blue, which attests to its authenticity and historical importance. The vase is embellished with an intricate and continuous design showcasing a large flock of cranes against a meticulously detailed naturalistic backdrop. The composition demonstrates remarkable precision, highlighting exquisitely rendered enamelled rocky cliffs framed by dramatic mountain peaks, along with large, twisted pines and gnarled branches. Approximately half of the cranes are depicted perched among the pines and rocky outcrops, while the remaining birds gracefully soar above. A solitary peach, symbolizing longevity, is prominently illustrated, further enriching the thematic complexity of the piece. The other cranes elegantly navigate the waters below, encapsulating a tranquil and harmonious natural scene. The is selectively applied peach, indicating a deliberate artistic decision, possibly influenced by Jesuit aesthetics. Furthermore, the vase is adorned with stylized dragon handles, enameled in rich shades of iron red and gold, which exemplify the intricate craftsmanship characteristic of the era. An examination of museum collections, auction records, and private holdings confirms that this vase is among the finest crane vases of its kind globally, measuring an impressive 19 inches in height.

https://www.chinesemasterpieces.com

Exceptional Famille-Rose Hundred Deer Vase from the Qing Dynasty, Featuring the Qianlong Seal, Mark and Period

Thu, 17 Jul 2025 20:31:20 GMT

Exceptional Famille-Rose Hundred Deer Vase from the Qing Dynasty, Featuring the Qianlong Seal, Mark and Period

We are pleased to present a remarkably rare and exquisite famille rose hu vase, meticulously crafted during the Qing dynasty, specifically under the Qianlong reign, as indicated by the six-character seal mark in underglaze blue, dating from 1736 to 1795. This exceptional artifact is adorned with a continuous motif that elegantly depicts a herd of deer within a meticulously rendered naturalistic landscape. The level of detail showcases extraordinary precision, with exquisitely enamelled fur illustrating the deer engaged in various activities such as frolicking, resting, and playing against an opulent chartreuse background. The composition is further enriched by a rocky terrain accentuated with elegantly twisted pine trees, branches bearing peaches, and the vibrantly multi color lingzhi fungus. A river gracefully meanders through the mountainous backdrop, enhancing the visual depth and dynamism of the piece. The vase's handles are artistically designed in the form of stylized chilong dragons, enameled with iron red and gold, further contributing to its grandeur. Upon examination of collections, museum holdings, and auction results, it is evident that this vase ranks among the finest—if not the singular exemplary—Hundred Deer Vases in existence worldwide. The overall height of this magnificent piece is 19 inches.

https://www.chinesemasterpieces.com

Exceptional Famille-Rose Hundred Deer Vase from the Qing Dynasty, Featuring the Qianlong Seal, Mark and Period

183:812887715 (Joseph Sharon) — Thu, 17 Jul 2025 19:38:46 GMT

Groundbreaking Discovery Challenges the Established

History of Ru Ware

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 writ

183:812887715 (Joseph Sharon) — Tue, 26 Nov 2024 22:32:54 GMT

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.

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.

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 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. Prior to the Ru Kiln attaining 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 initial commissioned wares displayed a grayish biscuit that transitioned to brown post-firing, with some pieces bearing inscriptions such as "Feng Hua." 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 prior to 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/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 prior to 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/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/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.

https://www.chinesemasterpieces.com

Authenticating Chinese Art Ming Dynasty Imperial Chenghua B/W and Doucai Wares

Sat, 23 Mar 2024 21:03:53 GMT

Authenticating Chinese Painting Style On Ming Dynasty Imperial Chenghua Blue & White and Doucai Wares Will Show Several of the Finest Chenghua Masterpieces ever published.

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

Groundbreaking Discovery Challenges the Established History of Ru Ware

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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 ]

"Authenticating Closeup Proof" Northern Song Dynasty Yaozhou Kiln & Cizhou Kiln

Sat, 23 Mar 2024 18:03:15 GMT

"Authenticating Closeup Proof" Northern Song Dynasty

Yaozhou Kiln & Cizhou Kiln

"Among The Finest In The World"

Northern Song Dynasty Yaozhou Kiln & Cizhou Kiln, Likely Tribute Yaozhou Kiln Imperial Wares. Northern Song Dynasty Cizhou Kiln many Likely Tribute Wares https://www.chinesemasterpieces.com

Groundbreaking Discovery Challenges the Established History of Ru Ware

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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 ]

ABSOLUTE PROOF OF AUTHENTICITY ! (Northern Song Dynasty 1st Ru Kiln Tribute Ru Wares)

Sat, 23 Mar 2024 16:29:52 GMT

ABSOLUTE PROOF OF AUTHENTICITY ! (Northern Song Dynasty 1st Ru Kiln Tribute Ru Wares)

Groundbreaking Discovery Challenges the Established History of Ru Ware

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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 ]

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.

https://www.chinesemasterpieces.com

ABSOLUTE PROOF OF AUTHENTICITY! N.Song Dynasty 1st & 2nd Comm. Royal Ru Kiln Wares

Sat, 23 Mar 2024 15:15:24 GMT

ABSOLUTE PROOF OF AUTHENTICITY! N.Song Dynasty 1st & 2nd Comm. Royal Ru Kiln Wares

T he Most Important Ceramics In The World / The Royal Ru Kiln Is The first Kiln to be Commissioned by the Emperor Huizong to produce the 1st & 2nd Commissioned Official Imperial Royal Wares In The History Of China.

Groundbreaking Discovery Challenges the Established History of Ru Ware

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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 ]

Most Important Chinese Art In the World ! (Emperor Huizong's Royal Ru Kiln Porcelain Collection)

Mon, 12 Feb 2024 23:43:02 GMT

Most Important Chinese Art In the World !!!

(Emperor Huizong's Royal Ru Kiln Porcelain Collection )

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.

https://www.chinesemasterpieces.com

Qing Dynasty Qianlong Marked & Period Famille Rose Vase SALE contact me Joseph.Sharon@chinesemasterpieces.com

Thu, 28 Dec 2023 02:09:57 GMT

ChineseMasterpiece

Qing Dynasty Qianlong Marked & Period Famille Rose Vase

SALE contact me Joseph.Sharon@chinesemasterpieces.com

This is an absolutely wonderful Qing Dynasty Qianlong Marked and Period Famille Rose Vase 1736- 1795. This Vase was created using several bands and levels of decorations and shows the great skill it took to make this piece. Some of the Vase has been incised, the band around the shoulder shows thousands of very controlled tiny pin point droplets of enamel, The Leaves, branches, flowering blooms, and butterfly's are very delicately painted. 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 balanced and depth to this piece. 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. This Vase used a few strands of hair brush for much of these decorations and some strokes look to be using a single strand. There is a slight firing flaw along the blue base where the blue shrunk slightly and you can see a couple small areas of white. The Vase has a poem on the back and also has the Qianlong mark on the bottom that lines up with the center of the main decoration which is typical in Imperial Qianlong pieces. This Vase Measures approx.16 1/8 inches Tall.

https://www.chinesemasterpieces.com

Groundbreaking Discovery Challenges the Established History of Ru Ware

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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 ]

Qing Dynasty Mark & Period Yongzheng Pair Of Falangcai Enamel Vases SALE PRICE $32,000,000.

Thu, 28 Dec 2023 01:36:24 GMT

Masterpieces

Qing Dynasty Mark & Period Yongzheng Pair Of Falangcai Enamel Vases

SALE $32,000,000.

These Exquisite 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 are very delicate and decorated with branches, flowering prunus, and birds. On the reverse there is an inscribed poem with three seals. The Yongzheng mark on the base was added by the Beijing decorators in blue enamel, and the mark lines up with the poem which is typical in Yongzheng wares. The Yongzheng Falangcai color palette is distinct, making these wares easy to distinguish. This pair of vases are not exact copies of each other which is typical on Yongzheng wares. The Birds on these vases are so finely done the feathers took well over a thousand tiny strokes using a single hair brush to create their bodies this can only be seen using a loupe. Zoom in on the photos and you'll be able to see the tiny strokes on the Birds, and their bodies are only about 1/2" wide. The artist skill and control is incredible. The quality of these wares are magnificent, check your auction catalogs, books, museums, and see if you find a better pair of Yongzheng falangcai vases published anywhere. This pair of Vases measure

approx. 8 3/8 inches Tall.

https://www.chinesemasterpieces.com

Groundbreaking Discovery Challenges the Established History of Ru Ware

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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-M AIL Joseph.Sharon@chinesemasterpieces.com ]
WEBSITE [ https://www.chinesemasterpieces.com ]

Imperial Blue & White 15th Century. Ming Dynasty Chenghua Mark & Period Brush Washer SALE $2,700,000.

Thu, 28 Dec 2023 01:07:40 GMT

Masterpiece

Imperial Blue & White 15th Century. Ming Dynasty Chenghua Mark & Period Brush Washer

SALE $2,700,000.

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 a silvery skin reflection. 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 will look wavy. The glaze has tiny even bubbles that can be seen with a loupe.

https://www.chinesemasterpieces.com

Groundbreaking Discovery Challenges the Established History of Ru Ware

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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

This extremely important Northern Song Dynasty 2nd Commissioned Official Imperial Ru Kiln Cong Vase From Emperor Huizong's personal collection

183:812887715 (Joseph Sharon) — Wed, 27 Dec 2023 21:20:01 GMT

2nd Commissioned Ru Ware Vase With Gilded Over Copper Bands And Crushed Agate In Glaze

Https://www.chinesemasterpieces.com

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.

This Is The Official Commissioned 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 almost 1000 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. All 2nd commissioned wares are not marked. The 2nd commissioned wares have an off white biscuit that turns brownish after firing, the wares have a very rich beautiful smooth glaze without any crackle, extremely rare wares have fire gilded over copper bands, This Cong Vase is the finest Vase from the hoard of Chinese Emperor Huizong Of The Song Dynasty 1082 to 1135 Personal Collection.`

LOOK CAREFULLY BELOW

Below is a row of closeups photos to show you the Cuprite and Malachite corrosion on the RU WARE Copper Fire gilded Bands. (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 is very dangerous) This took almost 1000 years to develop on these bands and this 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.) Also microscopic photos of the RU WARE glaze which you can see the tiny reflective specs of crushed agate that was used in the glaze. The reflective agate specs can also be seen when using a 20x loupe, only Commissioned Imperial Ru Wares have crushed agate in the glaze. The pieces that have been sold by the corrupt Auction companies will not show crush agate in there glaze because they never used agate in Merchant wares. Only Official Commissioned Imperial Ru wares used agate in the glaze. The finest Merchant wares have gild copper bands these were given as tribute to the Emperor. Most Merchant ware was sold to the wealthy merchants. The Merchant pieces that were flawed were sold very cheap to the population and Merchant wares that were extremely flawed were destroyed. When Emperor Huizong commissioned the Ru Kiln, he worked with the Ru kiln and designed wares for himself and his court and made them his official Kiln. He wanted them to use agate in the glaze in all his Commissioned wares. The Commissioned wares are generally larger then what the Ru Kiln had been producing, also they have there own distinct styles, forms, and glazes that many have not been seen even until today. They have found the Ru kiln site where they made the Merchant wares before Emperor Huizong commissioned them. I don't believe they have found Emperor Huizong's official Ru kiln site yet.

https://www.chinesemasterpieces.com

TOTALLY CORRUPT Sotheby's, Christies, Bonhams

183:812887715 (Joseph Sharon) — Wed, 27 Dec 2023 20:39:32 GMT

TOTALLY CORRUPT Sotheby's, Christies, Bonhams,

I speak out to expose the corruption that permeates the entire fine Asian art market 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.

Microscopic Evidence Exposes Long-Held Myths

Resistance from Museums and Auction Houses

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.

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-MAI L Joseph.Sharon@chinesemasterpieces.com ]
WEBSITE [ https://www.chinesemasterpieces.com ]

[J oseph 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.

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This extremely important Northern Song Dynasty 2nd Commissioned Official Imperial Ru Kiln Cong Vase From Emperor Huizong's personal collection

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.

This Is The Official Commissioned Imperial

Ru Ware Collection From The Northern Song Dynasty Emperor Huizong's Personal Collection

LOOK CAREFULLY BELOW

TOTALLY CORRUPT Sotheby's, Christies, Bonhams

TOTALLY CORRUPT Sotheby's, Christies, Bonhams,

Significantly Important Qianlong Imperial Marked and Period
Incised Mirror Black Glazed Bowl

Yaozhou Kiln & Cizhou Kiln