Chinese Masterpieces
Finest Most Important Southern Song Dynasty Official Imperial Guan Xiuneisi Inner Kiln Wares
For the novice, some wares you can clearly see the Cuprite and Malachite corrosion, which proves they are ancient.
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Most Of These Guan Wares Were Done In The Xiuneisi Inner Kiln,
And They're Among The Finest In The World
(From Sotheby's Catalog) One of the earliest references to guan kilns may be found in Tan zhai bihen [Composed measures from the Tan Studio], written by the Southern Song scholar Ye Zhi: ‘The kiln [site] at Xiuneisi, referred to as the inner kiln, inherited the production [method] of the ancient capital and produced celadon wares that used clear clay as standard. [These wares were] extremely fine with a glossy coloured [glaze] that was lustrous and translucent. They were treasured [by everyone] in the realm. Subsequently, a different new kiln was established at Jituotianxia [which produced wares that were] greatly different from [that produced at the] old kiln.’
Guan Yao Ribbed Vase: An Exceptional Example, This Official Xiuneisi Inner Kiln Vase, Inscribed was Crafted for the Imperial Court of the Southern Song Dynasty (1127-1279)
Upon examining the collections of esteemed institutions worldwide, one would be hard-pressed to identify a more exquisite masterpiece than the Guan Yao ribbed vase from the Southern Song Dynasty, as illustrated below. This exceptional piece is believed to have been crafted in the renowned Xiuneisi inner kiln. It exhibits a thick, opaque pale blue glaze with a subtle greenish tint, achieved through multiple applications and successive firings. The substantial glaze coat thins notably around the rim, revealing a deep ochre-brown biscuit underneath, along with a delicate, faint crackle across the surface. The vase's form demonstrates a remarkable balance, indicative of the skill of a master potter. Such wares are characterized by their finely crafted bodies, which are notably thinner than the glaze applied. Additionally, the base prominently features the official government mark, affirming its authenticity. Following the incursions of the Jin armies, the Imperial Court relocated from the Northern Song Dynasty to Hangzhou in 1127 A.D., where the Southern Song Dynasty was subsequently established. ppjrs
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Southern Song Dynasty Guan Yao Official Xiuneisi Inner Kiln Imperial Guan Ware Marked and Period Arrow-Shaped Vase
The distinguished Arrow Vase is an exemplary artifact from the Southern Song Dynasty, expertly crafted at the esteemed Guan Official Kiln. This piece was produced in the inner kiln at Xiuneisi and showcases a sophisticated application of multiple layers of a rich bluish glaze, subtly accentuated by a greenish undertone, all formed into a slender silhouette that elegantly pools at the base. The vase is notable for its remarkable translucent surface, which features a unique crackle pattern, while the official Guan mark on the underside serves to confirm its authenticity and provenance. Additionally, the piece includes an iron foot, a result of the firing process, and is composed of brown clay that imparts a deep ochre hue. Following the expulsion of the Imperial Court from the Northern Song Dynasty by Jin forces in 1127 A.D., the court's relocation to Hangzhou heralded the emergence of the Southern Song Dynasty. The vase stands at approximately 8 3/8 inches in height, exemplifying the artistic and technical prowess characteristic of its period. ppjrs
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Imperial Guan Ware Vase with Tiger Handles, Marked and Dating from the Southern Song Dynasty, Xiuneisi Inner Kiln
This exceptional artifact is a vase crafted during the Southern Song Dynasty, characterized by its Tiger Handles and produced at the esteemed Guan Official Xiuneisi Kiln, under the auspices of the imperial mark period of Guan ware. The vase features multiple layers of intricate greenish glaze applied over a delicately constructed body. The elegantly curved rectangular vase displays a subtle crackle finish, enhancing its aesthetic appeal, and prominently bears the official Guan mark on its base. Additionally, the piece is supported by a robust iron foot, exhibiting the distinctive dark brown hue attributed to the clay utilized in its creation. Following the ousting of the imperial court by the Jin armies from the Northern Song Dynasty in 1127 A.D., the court relocated southward to Hangzhou, marking the establishment of the Southern Song Dynasty. The vase measures approximately 8 7/8 inches in height. ppjrs
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Official Southern Song Dynasty Guan Xiuneisi Inner Kiln Imperial Guan Ware Marked Ribbed Vase from the Period
Southern Song Dynasty Ribbed Vase: This exceptional masterpiece, crafted during the Imperial period at the Guan Official Xiuneisi Kiln, exemplifies the exquisite artistry of Guan ware. The vase showcases a distinctive bluish glaze with a subtle green tint, achieved through a meticulous glazing process that features a thin body complemented by a thicker glaze that pools elegantly at the base. The ribbed design is accentuated by a striking crackle effect, all underscored by the official government Guan mark located on the underside. The vase rests on an iron foot resulting from the firing process, exhibiting the characteristic dark ochre hue derived from the brown clay utilized in its creation. This historical artifact emerged in the context of significant turmoil, as the Jin armies forced the Imperial Court to relocate from the Northern Song Dynasty to Hangzhou in 1127 A.D., ultimately establishing the Southern Song Dynasty. The vase measures approximately 9 1/8 inches in height. ppjrs
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Oval Vase Marked and Dated to the Southern Song Dynasty, Crafted at the Xiuneisi Inner Kiln for Imperial Guan Court
This exquisite oval vase, an exemplary representation of the Southern Song Dynasty, features the distinctive characteristics of Guan ware produced at the esteemed Xiuneisi Kiln during the Imperial period. Marked and crafted at the official inner kiln, this masterpiece showcases multiple layers of a thick, translucent glaze with a subtle bluish-green hue, enhancing its delicate structure and creating a thicker pooling effect at the base. The vase is adorned with an attractive crackle glaze that further accentuates its greenish-bluish transparency and bears the official Guan mark on its base. Notably, the vase retains an iron foot from the firing process, exhibiting a deep brown color attributable to the ochre-hued clay utilized in its production. Following the Jin armies' incursion, which resulted in the displacement of the Imperial Court from the Northern Song Dynasty in 1127 A.D., the court established the Southern Song Dynasty in Hangzhou. This remarkable bottle vase stands approximately 9 1/8 inches in height, embodying the artistry and craftsmanship of its era. ppjrs
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Southern Song Dynasty Guan Yao Official Xiuneisi Inner Kiln Imperial Guan Ware Marked and Period Square-Ribbed Vase
Southern Song Dynasty Square Ribbed Vase. This distinguished masterpiece, a Guan ware vase produced during the official Xiuneisi Kiln Imperial Mark period, exemplifies the exquisite craftsmanship of the era. Crafted in the esteemed inner kiln, the vase features multiple layers of a thick bluish glaze with a subtle tinge of green, applied over a slender body with a thicker glaze that pools elegantly at the base. This remarkable, translucent vase exhibits a faint crackle texture, while the official Guan mark is prominently displayed on its base. Additionally, it showcases an iron foot resulting from the firing process, complemented by the dark ochre brown hue derived from the high-quality clay utilized. The term "Xiu Nei Si" refers to the Department of Palace Supplies. Following the displacement of the Imperial Court by the Jin armies during the Northern Song Dynasty in 1127 A.D., the court relocated south to Hangzhou, leading to the establishment of the Southern Song Dynasty. The vase measures approximately 9 1/4 inches in height. ppjrs
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Southern Song Dynasty Guan Yao: Official Xiuneisi Inner Kiln Imperial Guan Ware Marked Hexagonal Vase from the Period
This remarkable hexagonal vase, crafted during the Southern Song Dynasty, exemplifies the artistry of Guan ware produced at the official Xiuneisi kiln, distinguished by its imperial mark. The vessel features an intricate design enhanced by elegantly proportioned tiger handles. It is characterized by several layers of a thick, bluish glaze with subtle hints of green, applied over a thin body that culminates in pronounced glaze pooling at the base. The vase showcases a stunning, bluish, crackled translucent glaze and bears the official Guan mark on its underside. Additionally, it presents an iron foot resulting from the firing process and reveals a dark ochre brown hue attributable to the brown clay utilized in its creation. The term "Xiu Nei Si" is believed to refer to the department responsible for palace supplies. Following the incursion of the Jin armies that displaced the imperial court from the Northern Song Dynasty, the court retreated south to Hangzhou in 1127 A.D., ultimately establishing the Southern Song Dynasty. This exquisite piece measures approximately 9 1/4 inches in height. ppjrs
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Official Xiuneisi Inner Kiln Imperial Guan Ware Hu-Form Vase from the Southern Song Dynasty, Marked and Dated
This exceptional Hu-form tube handle vase, originating from the Southern Song Dynasty, is a distinguished illustration of Guan ware, crafted during the imperial era at the official Xiuneisi kiln. The vase showcases a slender body adorned with multiple layers of a thick, translucent glaze, predominantly featuring a bluish hue with subtle greenish undertones that significantly enhance its visual appeal. A notable characteristic is the accumulation of glaze at the base, resulting in a thicker pool that highlights the artistry inherent in its design. The presence of the official Guan mark on the base attests to its authenticity and provenance. Furthermore, the vase displays an iron foot from the firing process, characterized by a dark ochre-brown coloration that reflects the brown clay used in its fabrication. The term "Xiu Nei Si" designates the Department of Palace Supply, which was tasked with providing essential goods to the imperial court. In 1127 A.D., following the invasion by the Jin armies, the Imperial Court relocated from the Northern Song Dynasty to Hangzhou, paving the way for the emergence of the Southern Song Dynasty. The vase stands at an approximate height of 9 1/8 inches. ppjrs
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Southern Song Dynasty Official Xiuneisi Inner Kiln Guan Ware Vase with Imperial Mark and Cong Form
This exceptional Cong form vase, a distinguished exemplar of Guan ware from the Southern Song Dynasty, originates from the esteemed Xiuneisi kiln during the Imperial Mark period. The vase exhibits a refined, thin body enveloped in several layers of rich bluish glaze, accented by a subtle greenish hue, with a notably thicker glaze applied at the base. Its striking bluish translucent crackle glaze enhances its aesthetic appeal, while the presence of the official government Guan mark on the underside attests to its authenticity. The vase features an iron-burnished four-footed base resulting from the firing process, and is crafted from a dark ochre brown clay. The term "Xiu Nei Si" is believed to refer to the Department of Palace Supply. Historically, following the invasion by the Jin armies, the Imperial Court was compelled to relocate from the Northern Song Dynasty to Hangzhou in 1127 A.D., establishing the Southern Song Dynasty. This remarkable piece stands approximately 9 3/8 inches tall. ppjrs
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Southern Song Dynasty Guan Yao Official Xiuneisi Inner Kiln Imperial Guan Ware Marked and Period Meiping Vase
This exceptional Meiping vase, a masterwork of Guan ware, originates from the Official Xiuneisi Kiln during the Imperial Mark period of the Southern Song Dynasty. Crafted in the official inner kiln, the vase showcases multiple layers of a thick bluish glaze with a hint of green, highlighting its slender form and the pronounced pooling of glaze at the base. Adorned with a stunning crackled bluish glaze, this Meiping vase features an official government mark on its base, affirming its provenance. Additionally, it presents with an iron foot resulting from the firing process, exhibiting a dark ochre-brown hue derived from the brown clay utilized in its construction. The term "Xiu Nei Si" is understood to refer to the Department of Palace Supply. Following the incursion of the Jin armies, which forced the Imperial Court to flee the Northern Song Dynasty, the court established the Southern Song Dynasty in Hangzhou in A.D. 1127. This remarkable vase measures approximately 9 1/4 inches in height. ppjrs
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Southern Song Dynasty Guan Yao: Official Xiuneisi Inner Kiln Imperial Guan Ware, Marked Octagonal Hu-Form Vase
This exquisite Octagon Hu-form vase, a remarkable exemplar from the Southern Song Dynasty, carries the esteemed Guan Yao designation and is attributed to the Imperial Mark period of the Xiuneisi Kiln. Crafted in the official inner kiln of Xiuneisi, this vase features several layers of a rich, greenish glaze meticulously applied over a refined body. The surface exhibits a beautiful translucent finish with a very subtle crackle effect. Notably, the vase bears the official Guan mark on its base and is supported by an iron foot, distinguished by the dark brown hue derived from the specific clay employed in its creation. The term "Xiu Nei Si" refers to the Department of Palace Supply, specifically the Shunai Division. Following the incursion of the Jin armies, the Imperial Court retreated from the Northern Song Dynasty in 1127 A.D., ultimately establishing the Southern Song Dynasty in Hangzhou. The vase measures approximately 8 3/4 inches in height, encapsulating a significant period in Chinese ceramic history. ppjrs
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Southern Song Dynasty Guan Yao Official Xiuneisi Inner Kiln Imperial Guan Ware: Marked and Period Double Gourd Bottle Vase
Southern Song Dynasty Double Gourd Bottle Vase. This exquisite Double Gourd Bottle Vase, crafted during the Imperial Mark period of the Guan Official Kiln, exemplifies the artistry of Guan ware produced in the Xiuneisi inner kiln. The vase features multiple layers of a distinctive glaze that exhibits a bluish hue with a subtle green tint, skillfully applied over a slender body to achieve a thicker glaze. The striking crackled surface of this vase is complemented by the official Guan mark located on the base. Additionally, it is supported by three iron feet, resulting from the firing process, and presents a dark ochre-brown color derived from the underlying clay material. The term "Xiu Nei Si" is understood to denote the Department of Palace Supply, specifically the Shunai Division. Following the incursion of the Jin armies that forced the Imperial Court southward from the Northern Song Dynasty in 1127 A.D., the Southern Song Dynasty was established in Hangzhou. The vase measures approximately 9 1/4 inches in height. ppjrs
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Official Octagonal Hu-Form Vase of Imperial Guan Ware from the Southern Song Dynasty, Marked and Produced by Xiuneisi Inner Kiln
This exquisite octagonal Hu-form vase, a remarkable creation from the Southern Song Dynasty, exemplifies the artistry of Guan ware produced during the imperial period at the Xiuneisi official kiln. The vase showcases multiple layers of an intricate bluish glaze, with subtle greenish undertones, applied to a delicately crafted body. The distinctive thicker glaze pools at the base, highlighting the piece's refined craftsmanship. The vase features a beautiful translucent bluish glaze with a crackled finish and is marked with the official Guan government seal on the underside. Additionally, it boasts an iron foot resulting from the firing process, complemented by the dark ochre-brown hue derived from the brown clay utilized in its construction. This historical piece dates back to the period following the displacement of the Imperial Court by the Jin armies in 1127 A.D., which led to the establishment of the Southern Song Dynasty in Hangzhou. The vase stands approximately 8 ½ inches in height, representing a significant artistic achievement of its time. ppjrs
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Southern Song Dynasty Official Xiuneisi Inner Kiln Imperial Guan Ware Vase with Markings from the Period of Production
This exceptional Angled Corners Vase, a masterpiece from the Southern Song Dynasty, is an exemplary representation of Guan Yao ware produced at the prestigious Xiuneisi kiln during the Imperial period. Crafted in the official Xiuneisi inner kiln, the vase features multiple layers of a rich bluish glaze, subtly tinged with green. The vase exhibits a delicate body complemented by a thicker glaze that pools at the base, resulting in a striking visual effect. Characterized by a beautiful translucent quality, the crackled surface of this Angled Vase is adorned with the official government Guan mark located on its base. Additionally, the piece includes an iron foot formed during the firing process and showcases a dark ochre brown hue derived from the clay used in its creation. Historically significant, this vase hails from a period marked by the upheaval of the Jin armies, which compelled the Imperial Court to relocate from the Northern Song Dynasty to Hangzhou in 1127 A.D., subsequently establishing the Southern Song Dynasty. The vase measures approximately 8 1/2 inches in height. ppjrs
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Southern Song Dynasty Guan Yao: Official Xiuneisi Inner Kiln Imperial Guan Ware, Marked and Period Octagonal Bottle Vase
Southern Song Dynasty Octagonal Bottle Vase: This exceptional Guan ware octagonal bottle vase originates from the Guan Official Kiln during the Imperial period. Crafted within the esteemed Xiuneisi inner kiln, this masterpiece features multiple layers of a rich bluish glaze, distinguished by a slender body and a thicker pooling of glaze at the base. The vase is adorned with a striking bluish hue infused with a hint of green, characterized by a fine crackle finish. The base bears the official government Guan mark, indicative of its authenticity and significance. Additionally, it displays an iron foot from the firing process, highlighting the dark ochre-brown coloration derived from the clay employed in its creation. Following the incursion of the Jin armies, which led to the displacement of the Imperial Court from the Northern Song Dynasty in 1127 A.D., the Southern Song Dynasty was subsequently established in Hangzhou. This exquisite vase measures approximately 8 5/8 inches in height. ppjrs
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Imperial Guan Ware Bamboo Neck Bottle Vase from the Inner Kiln of Xiuneisi, Marked and Produced During the Southern Song Dynasty
Southern Song Dynasty Bamboo Neck Bottle Vase: A Masterpiece from the Guan Official Xiuneisi Kiln. This exceptional Guan ware bottle vase was crafted at the Official Xiuneisi inner kiln. The piece features several layers of a rich bluish glaze, with subtle greenish undertones, applied over a delicate body that culminates in a thicker pooling glaze at the base. The vase displays a striking bluish crackled finish and bears the official government Guan mark on its base. Additionally, it is characterized by an iron foot resulting from the firing process, complemented by the dark ochre-brown hue of the clay utilized in its creation. The historical context of this work is significant; following the incursion of the Jin armies that displaced the Imperial Court from the Northern Song Dynasty in 1127 A.D., the court established the Southern Song Dynasty in Hangzhou. The vase stands approximately 8 1/2 inches tall, exemplifying the artistry and craftsmanship of its era. ppjrs
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Imperial Guan Ware Hexagonal Meiping Vase from the Southern Song Dynasty, Crafted by the Xiuneisi Inner Kiln, Marked and Dated to the Period of Production
This exceptional hexagonal Meiping vase, a masterpiece of Guan ware, was produced during the Imperial period at the Official Xiuneisi Kiln of the Southern Song Dynasty. Its striking glaze features multiple layers, exhibiting a rich bluish hue tinged with green, which artfully highlights the slender body and thicker pooling of glaze at the base. The vase is characterized by its beautifully translucent bluish crackle finish and bears the official government mark on the underside, indicative of its authenticity. Additionally, the vase features an iron foot resulting from the firing process, and its dark ochre brown coloration is attributed to the specific brown clay utilized in its creation. The term "Xiu Nei Si" references the Department of Palace Supply's Shunai Division. Following the invasion of the Jin armies, the Imperial Court was forced southward from the Northern Song Dynasty to Hangzhou in 1127 A.D., where the Southern Song Dynasty was subsequently established. This exquisite piece measures approximately 9 1/4 inches in height. ppjrs
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Southern Song Dynasty Guan Yao: Official Xiuneisi Inner Kiln Imperial Guan Ware Oval Vase with Tube Handle, Marked and Dated to Period
Southern Song Dynasty Tube Handle Oval Vase. This exceptional Guan Yao vase, produced during the esteemed Imperial period at the Xiuneisi inner kiln, exemplifies the artistry of Guan ware. It boasts a delicate, thin body, adorned with multiple layers of a rich, bluish glaze subtly tinged with green, which becomes more substantial in pooling at the base. The vase showcases a striking crackled surface and features the official Guan mark prominently on its base. Additionally, it displays a characteristic iron foot resulting from the firing process, coupled with the distinctive dark ochre brown hue derived from the clay utilized in its creation. The historical context of this masterpiece is significant; following the Jin armies' displacement of the Imperial Court from the Northern Song Dynasty in 1127 A.D., the Southern Song Dynasty was established in Hangzhou. This remarkable bottle vase stands approximately 8.5 inches tall, making it a noteworthy example of ancient Chinese craftsmanship. ppjrs
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Guan Elephant Handles Vase Crafted at the Official Xiuneisi Inner Kiln for the Imperial Court of the Southern Song Dynasty
(1127-1279)
This exquisite Guan Yao S. Song Dynasty vase, featuring distinctive elephant handles, showcases a thick glaze characterized by bluish tones with a hint of green. This effect has been accomplished through multiple applications of glaze followed by successive firings. Notably, this imperial vase originates from the renowned Guan Kiln, specifically crafted within the official Xiuneisi inner kiln. The substantial glaze on this piece elegantly softens any sharp angles, contributing to its harmonious overall form. The work of a master potter, the vessel exhibits a well-balanced design. The body is constructed from fine ochre brown clay, which demonstrates a more delicate profile compared to the glaze; this is evident at the base, where the glaze has pooled. Additionally, the vase bears the official government mark on its base. The term "Xiuneisi" refers to the Department of Palace Supply, Shunai Division, established under the relocated Northern Song Administration, which moved southward to Hangzhou in 1127 A.D. The vase measures approximately 9 inches in height. ppjrs
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Official Southern Song Dynasty Guan Inner Kiln Hexagonal Vase Marked and Dated from the Imperial Guan Ware Period
Southern Song Dynasty Hexagon Vase Masterpiece, Guan Yao, Official Xiuneisi Kiln. This exquisite hexagonal vase, distinguished by its unique tiger handles, originates from the imperial period of Guan ware crafted in the official inner kiln. The piece features several layers of thick greenish glaze, applied to a fine body that enhances its elegance. The vase exhibits a remarkably translucent, greenish glaze with the faintest hint of crackling, and it bears the official Guan mark on its base. Additionally, it displays an iron foot from the firing process, showcasing the dark brown hue resulting from the clay utilized. Following the expulsion of the Imperial Court by the Jin armies from the Northern Song Dynasty, the court relocated to Hangzhou in 1127 A.D., establishing the Southern Song Dynasty. This remarkable vase measures approximately 9 1/4 inches in height. ppjrs
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Official Southern Song Dynasty Guan Xiuneisi Inner Kiln Imperial Guan Ware Marked Ribbed Vase from the Period
Southern Song Dynasty Ribbed Vase: An exquisite example of Guan ware from the prestigious Guan Official Kiln, this masterpiece dates from the Imperial period. Crafted at the esteemed Xiuneisi inner kiln, it features multiple layers of a distinctive bluish glaze, complemented by a subtle greenish tint. The vase is characterized by its slender body and a more substantial glaze that pools elegantly at the base. This stunning ribbed vase is adorned with a bluish crackle finish and bears the official Guan mark on its base. Additionally, it is supported by an iron foot resulting from the firing process, showcasing the dark reddish-brown hue of the clay employed in its creation. The establishment of the Southern Song Dynasty occurred in 1127 A.D., following the displacement of the Imperial Court by the Jin armies from the Northern Song Dynasty, leading to the court's relocation to Hangzhou. The vase measures approximately 9 1/8 inches in height. ppjrs
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Official Inner Kiln Imperial Guan Ware Brush Washer with Mark from the Southern Song Dynasty Guan Period
Southern Song Dynasty Double Crackle Brush Washer: This remarkable artifact exemplifies Guan ware from the distinguished Guan Official Kiln and dates back to the Imperial era. It is believed to have been produced at the renowned Xiuneisi inner kiln. The Brush Washer is distinctive for its dual forms of crackle; the exterior crackle typifies the Guan Kiln, while the interior crackle bears resemblance to that of the Ru Kiln. The piece features an official four-character mark on its base and is enhanced by a delicate pale greenish glaze with a crackled finish. Additionally, it is supported by an iron foot, a result of the firing process, which reveals a reddish-brown color. The Southern Song Dynasty was established in 1127 A.D., following the displacement of the Imperial Court by the Jin forces during the Northern Song Dynasty, which necessitated the court's relocation to Hangzhou. This Brush Washer has an approximate diameter of 8 5/8 inches. ppjrs
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Southern Song Dynasty Imperial Guan Tribute Beaker Vase with
Off-White Glaze and Fire-Gilded Bands
The Guan Yao of the Southern Song Dynasty, produced during the imperial era, features an exemplary Guan ware Beaker Vase. This vessel is distinguished by its crackled off-white glaze and is accentuated by fire-gilded bands encircling both the rim and base. These bands exhibit a layered presence of reddish cuprite and remnants of greenish malachite corrosion. The corrosion phenomenon has infiltrated the pores of the fire-gilded copper bands, serving as significant evidence of the vase's substantial age and authenticity. This distinctive characteristic is regarded as a more reliable indicator of provenance than a thermoluminescence (TL) test, a method utilized by experts to confirm the authenticity of non-replicable artifacts. Additionally, the vase features nine spur marks on the base and is embellished with an incised poem filled with gold, possibly executed during the Qing period. Following the expulsion of the Imperial Court from the Northern Song Dynasty by the Jin armies in 1127 A.D., the court relocated to Hangzhou, thus marking the inception of the Southern Song Dynasty. This Beaker Vase stands approximately
9 inches in height. ppjrs
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Guan Official Kiln Vase of the Southern Song Dynasty: Imperial Guan Ware with Crackled Finish and Gilded Bands
This exquisite Guan ware ribbed vase, crafted during the official kiln period of the Southern Song Dynasty, exemplifies the artistry and craftsmanship characteristic of the imperial era. The vase features a crackled beige glaze, complemented by fire-gilded bands that encircle both the rim and base. These gilded elements display an intriguing corrosion pattern, showcasing layered reddish cuprite and greenish botryoidal malachite that has permeated through the porous surfaces of the gilded copper bands. This unique degradation not only attests to the vase's considerable age but also serves as a reliable indicator of its authenticity, surpassing even thermoluminescence (TL) testing in terms of dependability—an assertion widely accepted among art experts and scholars. Furthermore, the vase is supported by an iron foot that exhibits a dark brown hue, indicative of the firing process, and is crafted from dark brown clay. The historical context surrounding this artifact is notable; following the invasion of the Jin armies, the imperial court was compelled to relocate from the Northern Song Dynasty to Hangzhou in 1127 A.D., establishing the Southern Song Dynasty. The vase stands approximately 5 3/4 inches tall, representing a significant piece of cultural heritage. ppjrs
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Song Dynasty Guan Yao Official Kiln Imperial Guan Ware Crackled Bamboo Neck Bottle Vase with Fire-Gilded Bands
The Song Dynasty Guan Yao, produced during the Imperial period, features a distinguished Guan ware Bamboo Neck Bottle Vase. This crackled beige-glazed vase exhibits fire gilded bands encircling the rim and base, which are adorned with layered reddish cuprite and greenish botryoidal malachite corrosion. This phenomenon has permeated the pores of the fire-gilded copper bands, providing compelling evidence of the vase's considerable age and authenticity. This characteristic serves as a more reliable indicator of provenance than a thermoluminescence (TL) test, as recognized by experts in the field who use this method to ascertain the authenticity of artifacts, which cannot be replicated. Additionally, the vase retains an iron foot, showcasing a dark brown patina resulting from the firing process. Following their expulsion from the Northern Song Dynasty by the Jin armies in 1127 A.D., the Imperial Court relocated to Hangzhou, marking the establishment of the Southern Song Dynasty. The vase stands approximately 5 5/8 inches tall. ppjrs
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Official Guan Ware Vase from the Southern Song Dynasty: Crackled Finish with Fire-Gilded Bands and Handles from the Imperial Guan Kiln
Southern Song Dynasty Guan Official Kiln Imperial-marked Vase, representing period Guan ware, features a crackled beige glaze and handles. Additionally, it is adorned with fire-gilded bands encircling the rim and base, displaying layered reddish cuprite and greenish botryoidal malachite corrosion, indicative of significant age. These characteristics serve as compelling evidence of the vase's authenticity, arguably more reliable than thermoluminescence testing, and are recognized by experts as definitive indicators of an artifact's genuineness, which cannot be fabricated. The vase also possesses a dark brown iron foot resulting from the firing process and is marked with the official Guan insignia on its base. The Imperial Court was driven southward to Hangzhou in 1127 A.D. by the Jin armies, leading to the establishment of the Southern Song Dynasty. This remarkable vase measures
approximately 8 7/8 inches in height. ppjrs
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Exquisite Southern Song Dynasty Guan Mallet-Style Vase
Masterpiece Guan Ware Mallet-Form Vase: This exquisitely crafted vase showcases a distinguished form, characterized by a finely potted structure. The vase features a striking crackled white glaze, interspersed with threads of gold, enhancing its aesthetic appeal. The base reveals the dark brown biscuit associated with Song Dynasty Guan Ware. Following the displacement of the Imperial Court by the Jin armies during the Northern Song Dynasty, the court relocated to Hangzhou in 1127 A.D., establishing the Southern Song Dynasty. The vase stands at a height of 8 1/2 inches. ppjrs
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For All Enquiries Please Contact AGENT : Venizelos G. Gavrilakis, President,VENIS STUDIOS
Email Venizelos@ChineseMasterPieces.com
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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.
ppjrs
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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
Priceless Past WWW.pricelesspast.com
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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