Fine Important Imperial Qing Dynasty Porcelain

A Pair of Imperial Qing Dynasty Kangxi Yellow Ground Falangcai Enamel Bowls, Featuring a Deep Pink Four-Character Yuzhi Mark in a Double Square, Dating from the Kangxi Period

These marked and period Kangxi Falangcai bowls from the Qing Dynasty exhibit exquisite craftsmanship and attention to detail. The intricacy of the incised designs attests to the remarkable skill of the artisans responsible for their creation. To fully appreciate the nuances of the detail, it is advisable to enlarge the accompanying photographs. This pair features a vibrant yellow ground complemented by a Falangcai palette, renowned for its rich array of colored enamels. Careful observation reveals the refined quality of the painting and shading, with minimal crazing—an attribute often associated with Kangxi Falangcai enamels. The striking application of these enamels enhances the overall aesthetic appeal of the bowls. On the base, one will find a deep pink four-character Yuzhi mark enclosed by double squares, signifying authenticity. Additionally, the foot ring displays some flaking of the biscuit, indicative of age, as well as iron marks resulting from the firing process. These masterpieces, the Kangxi bowls, are executed with exceptional artistry and precision. I would assert that they represent the finest pair of Kangxi Falangcai bowls I have encountered and may very well be among the finest examples in existence. Each bowl measures approximately 5 7/8 inches in diameter. ppjrs

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Kangxi Period Lotus Bowl with Ruby Red Ground and Falangcai Enamels, Exhibiting Blue Four-Character Yuzhi Mark Encased in a Double Square, Imperial Qing Dynasty

This Qing Dynasty Kangxi Falangcai bowl exhibits an exquisite form and craftsmanship. The piece features a robust falangcai palette adorned with vibrant colored enamels on the floral motifs, complemented by a more delicate enamel shading in green tones that enhances the lotus pads. Notably, the bowl displays subtle crazing in the flowers alongside a rich ruby red ground, underscoring its artistic merit. Careful attention to detail, along with an impressive balance of colors and shading, characterizes this exceptional piece. Kangxi falangcai bowls are often distinguished by fine crazing within their enamel surfaces, a feature present in this bowl, which also exhibits some flaking in the biscuit, indicating its age and authenticity. The color palette employed in Kangxi falangcai pieces is indeed striking. Additionally, this bowl bears the four-character yuzhi mark of the Kangxi period, presented in a double square format on the base. This meticulously crafted Kangxi bowl measures approximately 6 1/8 inches in diameter. ppjrs

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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.

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Qing Dynasty Imperial mark & period Yongzheng Pair of 
Falangcai Enamels Vases 

These exquisite Falangcai enamel vases, notable for their exceptionally thin porcelain bodies, were crafted in the Forbidden City, Beijing, during the Yongzheng period, specifically between 1723 and 1735. The vases are adorned with intricate designs executed in Falangcai enamels, with historical accounts indicating that the Emperor closely supervised their production. The artistic skill and precision required for their creation are evident; an examination of the vases reveals definitive characteristics of a masterful Chinese ceramic work. Prospective collectors are advised to scrutinize the detailed depictions of leaves, flowers, and branches. Close examination will reveal the exquisite color gradation and shading that confer balance and depth to these vases. Collectors need to distinguish between ordinary pieces and exceptional masterpieces. A comparative analysis of Qing ceramics often reveals that many were executed by less proficient artists, resulting in flat appearances with insufficient detail and balance. Paying meticulous attention to these elements of color and shading is vital for discerning quality in ceramic art. The delicate nature of these vases is further enhanced by their decoration, which features branches, flowering prunus, and avian motifs. The Yongzheng Falangcai color palette is distinctly recognizable. Evidence of age is apparent in the form of flaking within the biscuit. Additionally, the reverse side bears an inscribed poem along with three seals. The base is marked with the Yongzheng four-character mark, rendered in blue enamel within double squares, a hallmark of the Beijing decorators. It is noteworthy that this pair of vases is not identical, which is characteristic of Yongzheng productions. The birds depicted on these vases display unparalleled artistry, with the feathers meticulously illustrated through over a thousand minuscule strokes executed with a single-hair brush, a detail that can only be appreciated under magnification. Close examination of the photographs will reveal the intricate strokes, particularly given that the birds' bodies measure merely ½ inch in width. The artist's exceptional skill and control are truly exemplary. The quality of these vases is remarkable; verification of their distinction can be undertaken through auction catalogs, reference texts, and museum collections to ascertain if any superior examples of Yongzheng Falangcai vases are documented. The vases stand at an approximate height of 8 3/8 inches.

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Imperial Pair of Qing Dynasty Qianlong Period Bowls Featuring a Six-Character Mark and Poetic Inscription on the Base, Crafted with Falangcai Enamels

This pair of Qing Dynasty-marked Qianlong Falangcai bowls exhibits an exquisite form and craftsmanship. They feature a captivating palette of colored enamels set against a vibrant yellow ground, adorned with four Chinese symbols intricately surrounded by floral motifs and interlocking vines. Notably, the bowls display a characteristic crazing in the enamel, a hallmark of authentic falangcai wares. One must pay careful attention to the details, color balance, and shading, which contribute significantly to their aesthetic appeal. Evidence of flaking in the biscuit suggests the age and authenticity of these remarkable pieces. The falangcai color palette is particularly striking, enhancing the visual impact of the bowls. Each bowl bears the Qianlong blue six-character mark and is inscribed with a poem on the base, indicating its prestigious heritage. These expertly crafted Qianlong bowls measure approximately 6 inches in diameter, making them notable examples of their period. ppjrs

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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.

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Highly Uncommon Qing Dynasty Vase Featuring Islamic Influences: "Imperial Qianlong Mark and Period Famille Rose Landscape Hu Form

**Chinese Antique Porcelain: Qing Dynasty Qianlong Marked and Period Famille Rose Landscape Vase** We are pleased to present an exceptionally rare and exquisite Famille Rose landscape vase, marked and produced during the Qianlong period (1736-1795). This remarkable piece features a Hu form and showcases motifs reminiscent of Islamic tile artistry, an influence that appeared intermittently in select porcelains during the Qianlong era. This elegantly painted vase exhibits a high level of craftsmanship, adorned with two meticulously detailed landscape panels depicting serene valleys. Each panel is intricately framed by dual phoenix figures, enhancing the overall aesthetic. The mark is strategically aligned with the principal panel, adhering to the characteristics typical of Imperial Qianlong porcelain. Recognized as the zenith of porcelain production in China, the Qianlong period holds significant historical and artistic value, and this vase epitomizes that legacy. The vase stands at approximately 10 1/2 inches tall. Should you have any inquiries regarding this distinguished piece, please do not hesitate to reach out.

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Imperial Qing Dynasty Blue and White Brush Washer, bearing the Yongzheng Mark and originating from the designated period, showcases an exquisite design featuring confronting dragons encircling a flaming pearl.

This distinguished blue and white lobed brush washer, marked and produced during the Yongzheng period of the Qing Dynasty, exemplifies exceptional artistry and craftsmanship. The piece features intricate details, with the interior showcasing two confronting dragons encircling a flaming pearl. The exterior is adorned with a meticulously rendered wave pattern, while the base is decorated with a singular dragon amidst waves, encircling the six-character Yongzheng mark within a discrete circle. The artist's remarkable attention to detail is evident in the precise application of cobalt, as well as the balanced composition and shading employed throughout the piece. This Yongzheng brush washer measures approximately 7 3/4 inches in diameter. ppjrs

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Imperial Mark and Period Yongzheng Pair of Falangcai Enamel Meiping Vases from the Qing Dynasty

The Falangcai enamels meiping vases, exquisite in their craftsmanship and artistry, were meticulously produced during the Yongzheng era from 1723 to 1735 in the Forbidden City, Beijing. These vases exemplify the pinnacle of decorative arts, having been adorned with exceptional Falangcai enamels, presumably under the direct oversight of the Emperor. Their creation required an extraordinary level of skill and precision. Each vase features intricate decorations of branches, flowering prunus, and magpie birds, while the reverse side showcases an inscribed poem accompanied by three seals. Additionally, the presence of a blue enamel Yongzheng four-character Yuzhi mark in double squares on the base identifies them as products of Beijing decorators. Notably, these vases exhibit slight variations in design, consistent with typical Yongzheng wares, further enhancing their uniqueness. The evidence of flaking in the biscuit confirms their age and historical significance. The artist's extraordinary craftsmanship is evident in every detail, rendering them a magnificent example of this genre. For those discerning collectors, I encourage you to consult auction catalogs, academic publications, and museum collections to evaluate the rarity of a comparable pair of Yongzheng Falangcai vases available elsewhere. This particular pair stands at approximately 9 5/8 inches in height ppjrs

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Mark and Period Yongzheng Pair of Falangcai Enamel Moon Flasks from the Qing Dynasty

The Falangcai enamel Moon Flasks, renowned for their exceptional craftsmanship and artistry, were produced with meticulous attention to detail during the Yongzheng era, from 1723 to 1735, within the Forbidden City in Beijing. These artifacts represent the zenith of decorative arts, featuring remarkable Falangcai enamels, likely crafted under the direct supervision of the Emperor. The production of each flask necessitated an extraordinary degree of skill and precision. Every Moon Flask is adorned with intricate motifs of branches, peach blossoms, peaches, cranes, and magpies. The reverse side is embellished with an inscribed poem and three seals, adding layers of cultural depth. Marked by a blue enamel Yongzheng four-character Yuzhi mark within double squares on the base, these pieces clearly indicate their origins from Beijing's esteemed decorators. It is noteworthy that these Moon Flasks exhibit slight design variations, which are characteristic of typical Yongzheng wares, thereby enhancing their uniqueness. The presence of flaking in the biscuit further attests to their historical significance and age. The artist's exceptional craftsmanship is manifest in every detail, establishing these Moon Flasks as magnificent representations of their genre. For discerning collectors, it is advisable to consult auction catalogs, academic literature, and museum collections to assess the rarity of a comparable pair of Yongzheng Falangcai Moon Flasks that may be available. This particular pair measures approximately 10 1/2 inches in height. ppjrs

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A Pair of Qing Dynasty Kangxi Bowls with Pinkish Ground and Falangcai Enamel Featuring a Puce Four-Character Yuzhi Mark and Period in a Double Square

This pair of Qing Dynasty-marked and period Kangxi Falangcai bowls exhibits exquisite craftsmanship. They are adorned with a striking Falangcai palette that showcases a variety of colored enamels, featuring floral designs with vibrant hues and delicate green shading on the leaves, juxtaposed against deep bluish-green tones on the four panels set against a pale pink ground. Notably, the presence of extensive crazing in both the ground and panels is characteristic of Falangcai enamels, further attesting to their authenticity and age. Attention to detail in the color balance and shading is essential when appreciating these remarkable bowls. Additionally, evidence of flaking in the biscuit indicates its historical significance. The Falangcai color palette is particularly noteworthy, enhancing the overall aesthetic appeal of the pieces. Each bowl bears the Kangxi four-character Yuzhi mark in puce enamel, enclosed within double squares on the base, affirming its provenance. These expertly crafted Kangxi bowls measure approximately 5 7/8 inches in diameter. ppjrs

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Imperial Qianlong Celadon Vase of the Qing Dynasty: Mark and Period Analysis

This exquisite vase, marked and dated to the Qianlong period, is crafted in the form of a Hu. It features five intricately carved five-clawed dragons navigating through clouds above a water motif, showcasing the exceptional artistry characteristic of this era. The vase is adorned with a striking celadon glaze and is complemented by two elegantly designed deer head handles. Additionally, it bears the Qianlong mark, which aligns harmoniously with the prominently displayed central dragon, a hallmark of Qianlong ceramics. The vase stands approximately 12 3/4 inches in height.

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Pair of Qing Dynasty Imperial Yongzheng Period Bowls Adorned with Eight Buddhist Symbols, Featuring Blue Four Character Yuzhi Mark and Period in a Double Square Design 

This impressive pair of Qing Dynasty Yongzheng period Falangcai bowls exhibits exceptional craftsmanship and aesthetic appeal. They feature a fascinating falangcai palette characterized by a rich selection of colored enamels and are adorned with eight auspicious Buddhist symbols. Notably, the enamels demonstrate minimal crazing, which is often characteristic of authentic falangcai pieces. Attention to detail is paramount in these bowls, with careful consideration given to color balance and shading, enhancing their overall visual presentation. Evidence of age is indicated by flaking in the biscuit, further affirming their historical significance. The vibrancy of the Falangcai color palette adds to their allure. Each bowl is marked with the Yongzheng blue four-character Yuzhi mark encased in double squares on the base, underscoring their authenticity and period relevance. These exquisite Yongzheng bowls measure approximately 6 inches in diameter and exemplify the exceptional artistry of their time. ppjrs

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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 brushwork and the colors applied to the rocks, trees, and deer are all rendered with incredible realistic accuracy and artistic ingenuity.  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, adding depth and dynamism to 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. ppjrs

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Pair of Imperial Qing Dynasty Kangxi-Era Bowls Embellished with Floral Motifs, Showcasing Falangcai Enamels and the Deep Red Yuzhi Mark with Double Square Inscription from the Period

This exceptional pair of bowls from the Qing Dynasty, specifically marked as Kangxi, Falangcai, represents an elegant design and is embellished with a remarkable array of colored enamels. Each bowl features intricately detailed depictions of flowers, buds, and peonies, showcasing the characteristic artistry of this historic period. Importantly, the absence of crazing in the enamels—a condition frequently observed in falangcai ceramics—significantly enhances their overall desirability. Furthermore, the exquisite detailing and rich colors are complemented by signs of flaking in the biscuit, alongside an iron firing ring present on the footring, which are indicative of their age. The bases of the bowls are marked with the Deep Red Kangxi four-character Yuzhi mark, enclosed within double squares. With approximate dimensions of 6 1/8 inches in diameter, these Kangxi bowls stand as a remarkable testament to the craftsmanship of their era. ppjrs

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Imperial Qianlong Celadon Moon Flask Vases with Carved Dragon Motifs from the Qing Dynasty: Mark and Era Analysis

These distinguished vases, attributed to the Qianlong period, are elegantly designed in the form of a Moon Flask. They feature intricately impressed and carved five-clawed dragons, skillfully navigating through stylized clouds, with a flaming pearl—elements that exemplify the exceptional craftsmanship typical of this era. The vases are finished with a refined celadon glaze and are further enhanced by two meticulously designed dragon handles. Each piece prominently displays the impressed Qianlong seal mark, which harmonizes with the facing dragon motif, a signature characteristic of Qianlong ceramics. The height of each vase is approximately 12 3/4 inches. ppjrs

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Qing Dynasty Yellow Ground Green-Enameled Incised Dragon Vase with Imperial Qianlong Mark and Period

This exquisite ovoid vase from the Qing Dynasty features a long neck and is distinguished by a vibrant yellow ground adorned with green incised enamel depicting a dragon in pursuit of a flaming pearl amidst billowing clouds. Evidence of flaking in the biscuit confirms its antiquity. The vase is marked with the underglaze Qianlong seal on the base, aligning with the primary decorative motif, thereby establishing it as an authenticated period piece. The vase stands

approximately 10 1/2 inches in height.ppjrs

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Qing Dynasty Yongzheng Period Pairs of Falangcai Enamel Vases 
with Imperial Yuzhi Mark 

These exceptional Falangcai enamel vases are masterfully crafted and intricately painted, originating from the Forbidden City in Beijing during the Yongzheng period, specifically between 1723 and 1735. The vases were produced using the Falangcai enamel technique, asserted to have been supervised directly by the Emperor. The creation of these vases required exceptional skill and precision. The decoration features branches adorned with flowering prunus and magpie birds, exemplifying the distinct Yongzheng color palette. A poem is inscribed on the reverse side, accompanied by three seals. Additionally, the vases bear the Yongzheng four-character Yuzhi mark in blue enamel, presented in double squares on the base, indicating their authenticity as products of Beijing decorators. It is noteworthy that this pair of vases is not identical, which is characteristic of Yongzheng wares. Evidence of flaking in the biscuit further substantiates their age. The artist's remarkable skill and control in the execution of these pieces are evident. The quality of these wares is truly exceptional; a thorough review of auction catalogs, scholarly publications, and museum collections may not yield a comparison to this distinctive pair of Yongzheng Falangcai vases. Each vase stands approximately 10 inches in height. ppjrs

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Imperial Pair of Qing Dynasty Kangxi-Era Bowls Adorned with Peonies and Floral Motifs, Featuring Falangcai Enamels and the Blue Yuzhi Mark with Double Square Inscription of the Period 

This exquisite pair of Qing Dynasty-marked Kangxi Falangcai bowls exemplifies an elegant form and is adorned with a stunning palette of colored enamels. Each bowl features meticulously detailed panels depicting flowers, buds, and peonies, showcasing the artistry typical of this period. Notably, there is minimal crazing present in the enamels, a condition often associated with falangcai pieces, which further enhances their desirability. Additionally, the fine detailing and vibrant colors are complemented by evidence of flaking in the biscuit, indicative of their age. The bases of the bowls bear the blue Kangxi four-character Yuzhi mark enclosed within double squares. Measuring approximately 6 inches in diameter, these Kangxi bowls are a remarkable testament to the craftsmanship of their time. ppjrs

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Imperial Jiaqing Mark And Period Meiping Vase with Yellow Ground, Green Enameled Incised Five Dragons, Qing Dynasty

This exquisite Meiping vase, crafted during the Qing Dynasty, features a vibrant yellow ground adorned with five intricately incised green dragons. Three of the dragons are depicted amongst the clouds, while the remaining two emerge from the water, showcasing remarkable artistry. Notably, the vase exhibits flaking in the biscuit, a testament to its considerable age. This Jiaqing Meiping vase bears the underglaze Jiaqing seal mark on its base, aligning with its primary decorative elements, thereby confirming it as both a marked and period piece. The vase stands at an approximate height of 13 1/2 inches. ppjrs
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Kangxi Period Falangcai Bowl on Pinkish Ground with Deep Pink Four-Character Yuzhi Mark from the Imperial Qing Dynasty

This exquisite Kangxi Falangcai bowl showcases a remarkable form complemented by a vibrant palette of colored enamels. The rich pink floral motifs, alongside the striking green and yellow tones of the leaves and the sky blue adorning the bowl's four panels, create a captivating interplay against a delicate orangish-pinkish ground. A thorough analysis of the intricate details, color balance, and shading enhances one’s understanding of the unique characteristics that render this Falangcai Kangxi bowl a remarkable artifact. The presence of slight flaking in the biscuit serves as evidence of its historical age, while the limited crazing found in the enamels is characteristic of Falangcai pieces. The bowl's allure is further intensified by its captivating color palette. Notably, it is marked with the Kangxi four-character yuzhi inscription, elegantly executed in deep pink, inside the double squares at the base. Measuring approximately 5 7/8 inches in diameter, this meticulously crafted Kangxi bowl represents a significant contribution to the field of fine porcelain. ppjrs

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Imperial Qianlong Mark and Period Qing Dynasty Yellow Ground Vase with Incised Globular Shape Featuring 100 Butterflies / Moths

This exquisite Qing Dynasty vase features a fine yellow ground adorned with intricately incised motifs of butterflies, moths, fruits, and flowers. These elements are rendered in rich, thick enamel colors, while the remainder of the vase is finished in a more delicate application of thin enamels. Exhibiting a beautifully globular form, the vase is adorned with meticulously painted details. The base bears the blue under-glaze Qianlong seal mark, indicative of its authentic heritage. Evidence of age is reflected in the flaking of the biscuit, which further corroborates its provenance and period, with the vase standing at 16 3/4 inches tall.

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Imperial Blue and White Vase from the Kangxi Era of

the Qing Dynasty

This Qing Dynasty Kangxi vase, distinguished by its marked authenticity, exhibits a refined form representative of the period. This blue and white vase is elegantly adorned with motifs of rocks, peonies, and two magpies perched upon a branch, complemented by an inscription of poetry on the reverse side. Careful attention to detail, tonal balance, and shading is essential for understanding the characteristics that define a superior example of Kangxi blue and white porcelain. The vase features the Kangxi underglaze six-character mark enclosed within a double circle at its base. This exemplary piece has been expertly crafted and measures approximately 12 5/8 inches in height. ppjrs

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Pair of Yongzheng Bowls from the Imperial Qing Dynasty Featuring Falangcai Palette and Period Four-Character Gold Mark in Peach Form

This distinguished pair of marked and period Yongzheng bowls from the Qing Dynasty displays exquisite craftsmanship, employing a falangcai palette of vibrant enamels. The bowls feature a striking pink ground adorned with four blue panels, each shaped like Chinese characters, and illustrate motifs of bats and peaches within these panels. Notably, each bowl includes a peach design on its interior and base, marked with the four-character Yongzheng gold inscription that owns the peach motif. Attention to detail is evident in the careful application of color, balance, and shading throughout these pieces. The bowls exhibit signs of flaking in the biscuit, which attest to their antiquity. Additionally, falangcai enamels are characterized by the presence of fine crazing, a feature these bowls distinctly possess, enhancing their aesthetic appeal. The overall color palette of the falangcai enamels adds to the beauty of this remarkable craftsmanship. Each Yongzheng bowl measures approximately 6 1/4 inches in diameter. ppjrs

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Yongzheng Period Falangcai Enamel Vases Featuring Imperial Four Character Mark from the Qing Dynasty

These remarkable Falangcai enamel vases exhibit an extraordinary thinness, measuring less than half the thickness of a dime at the rim. Crafted during the Yongzheng period (1723 to 1735) in the Forbidden City of Beijing, these vases showcase a remarkable artistry that is believed to have been directly overseen by the Emperor himself. The decoration features intricate motifs, including branches, flowering prunus, and birds, all rendered with the exceptional skill required for such delicate work. The distinctive palette characteristic of Yongzheng Falangcai enamels confers a unique identity to these pieces, facilitating their recognition among connoisseurs. On the reverse side, an inscribed poem accompanies three seals, further enriching the historical significance of the vases. The presence of the Yongzheng four-character mark, rendered in blue enamel within double squares on the base, attests to the authenticity of these artifacts, added by the decorators in Beijing. Notably, this pair of vases is not identical, which is consistent with typical Yongzheng creations. The artistry exhibited in these vases is exceptional, with their rim being so finely crafted that some may liken it to milk glass. The level of skill and precision involved in their production is indeed remarkable. The quality of these vases is outstanding; interested parties are encouraged to consult auction catalogs, scholarly publications, and museum collections to ascertain the rarity and excellence of such finely potted Yongzheng Falangcai vases. Each vase measures approximately 9 1/8 inches in height. ppjrs

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Qing Dynasty Imperial Qianlong Mark and Period Red Ground Ovoid Vase Decorated with Birds Motif

This Qianlong vase, marked from the Qing Dynasty and representative of the period, exhibits an elegant ovoid form characterized by a rich red ground. It is meticulously adorned with intricate gold branches and blossoms, as well as eight birds rendered in black and white enamels. The gold embellishments were executed with fluid, freestyle strokes, while the detailing of the birds’ feathers showcases the use of an exceptionally fine brush for heightened precision. A thorough examination of the piece, particularly regarding its intricate details, color palette, and shading techniques, is essential for appreciating the balance and depth inherent in this artwork. Such observations are pivotal in gaining insight into the defining characteristics of Imperial Qianlong porcelain. Notably, the Qianlong seal mark is strategically positioned at the center of the painting, a hallmark of authentic Imperial Qianlong pieces. The Qianlong era is widely recognized as the zenith of porcelain production in China. This exquisitely crafted ovoid vase stands approximately 18.5 inches in height.

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Qing Dynasty Marked Artifact: Double Gourd Vase with Black Cherry Glaze from the Yongzheng Period.

This double-gourd-shaped vase from the Yongzheng period of the Qing Dynasty is exceptionally crafted, exhibiting a strikingly beautiful black cherry hue. The piece is well-proportioned and demonstrates high-quality pottery techniques. It features a four-character Yongzheng mark on the base, indicative of its period, and exhibits iron firing marks on the foot ring. Additionally, the presence of flaking in the biscuit suggests its antiquity. The vase measures approximately 11 1/8 inches in height. ppjrs

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Daoguang Era Imperial Qing Dynasty Elegant Red Glazed Pear-Shaped Vase

This exquisite vase, originating from the Qing Dynasty and specifically the Daoguang period, features a pear-form design. It is expertly crafted, exhibiting a remarkably rich red hue that is visually captivating. The vase shows evidence of flaking in the biscuit, indicative of its age, and is marked on the base with the six-character Daoguang mark. The vase measures approximately 8 7/8 inches in height. ppjrs

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Qianlong Period with Imperial Seal Mark Egg Yolk Yellow Vase 
of the Qing Dynasty

Qing Dynasty Imperial Qianlong Seal Mark & Period Monochrome Egg Yolk Yellow Vase. This exquisite, slender vase, featuring a trumpet mouth, exhibits iron firing marks on the foot ring, indicative of its historical significance. Notable flaking in the biscuit further confirms its age. The vase stands approximately 11 7/8 inches tall. ppjrs

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Significant Pair of Qing Dynasty Imperial Yongzheng Seal Mark and Period Rare Chartreuse Monochrome Garlic Mouth Vases

This exquisite pair of Garlic-Mouth vases, originating from the Qing Dynasty during the Yongzheng period, features an exceptionally rare chartreuse color that enhances their aesthetic appeal. Notably, the presence of flaking in the ceramic biscuit attests to their antiquity. Each vase is marked with the six-character Yongzheng Seal, underscoring its historical significance. The dimensions of each piece are

approximately 9 7/8 inches in height. ppjrs

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Monochrome Lemon Yellow Vase with Imperial Mark the Kangxi Period of the Qing Dynasty

Qing Dynasty Imperial Kangxi Mark & Period Monochrome Lemon Yellow Bottle. Presenting a remarkable lemon-yellow mallet-shaped bottle from the Kangxi period. Noteworthy is the foot ring, which exhibits subtle iron-red markings resulting from the firing process, indicating the artifact's antiquity. Additionally, the presence of minor flaking in the biscuit further substantiates its age. The dimensions are approximately 8 1/4 inches in height. ppjrs

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Remarkable Large Outstanding Imperial Doucai Moon Flask from the Yongzheng Mark And Period of the Qing Dynasty

An exceptionally large Doucai moon flask from the Yongzheng period of the Qing Dynasty, distinguished by its mark and intricate design, features motifs of the Dragon and Phoenix amidst cloud patterns. The term "Doucai" translates to "contrasting colors," referring to the use of the Famille Rose palette—an enamel style that was notably rare during the Yongzheng era. This flask showcases elegantly designed flying fish handles, while its surface is adorned with bats, scrolling peonies, and floral elements. The base is marked with the six-character Yongzheng seal in underglaze blue. Additionally, the presence of flaking in the biscuit attests to its historical significance and authenticity. The flask stands approximately 22 3/4 inches in height. ppjrs 

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Imperial Yongzheng Period Vases of the Qing Dynasty: Pear-Shaped Design with Pomegranate Tree Motif, Executed in Falangcai Enamels and Highlighted by a Four-Character Yuzhi Mark Enclosed in Double Squares

This distinguished pair of Yongzheng Promegranate Pear form Vases, from the Qing Dynasty, and both marked and authentic to the period. Crafted with exquisite form, these pear-shaped vases utilize the falangcai palette of colored enamels, which is notable for its vibrant hues and intricate details. Each vase is decorated with a Pomegranate Tree with branches, blooms, leaves, and fruits.  These Pear form Vases exemplify the artistry characteristic of falangcai enamels. The base of each vase is adorned with the four-character Yongzheng Yuzhi mark, rendered in blue enamel within a double square—a hallmark of quality and authenticity. Attention should be drawn to the meticulous details, color balance, and shading that define these pieces. It is important to note the presence of some flaking in the biscuit, an indication of their age, while crazing is evident in the enamels, which often characterizes falangcai wares. The color palette itself remains remarkably beautiful. Each Yongzheng vase measures approximately 8 1/2 inches in height. ppjrs

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Mark and Period Qianlong: Pair of Famille Rose Vases in Violin Form Featuring Blown-On Decorations from the Qing Dynasty

This distinguished pair of Chinese porcelain Famille Rose vases, crafted in the form of violins, showcases an exquisite attention to detail with depictions of birds, flowers, buds, branches, magpies, and peacocks. These fine Qing Dynasty Imperial vases are marked with the four-character Yuzhi mark enclosed in a double square, indicating their production during the esteemed Qianlong Period (1736–1795). The craftsmanship exemplified in these pieces is noteworthy; this era is renowned for yielding some of the finest examples of blown enamel porcelain, distinguished by intricate decorations that illustrate the zenith of artistic achievement in this medium. The layers of detailed embellishment reflect the artist's exceptional skill, contributing to the vases' distinctive visual texture. The foliage, branches, blossoms, and avian figures are executed with remarkable delicacy. A meticulous examination—ideally utilizing magnification—of the leaves, flowers, and branches uncovers a profound depth of detail, vibrant colors, and nuanced shading that collectively enhance the piece’s overall balance and richness. Recognizing these elements of attention to detail, color harmony, and shading is critical for appreciating the artistry involved. It is significant to note that the base prominently features the Qianlong mark, which is centered in relation to the primary decoration—a characteristic hallmark of Imperial Qianlong porcelain. Standing at approximately 15 3/8 inches in height, these vases represent an impressive and valuable addition to any discerning collection. ppjrs

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Imperial Yongzheng Period Story Bowls from the Qing Dynasty, Decorated with Falangcai Palette and Inscribed with Four-Character Yuzhi Mark within Double Squares

This distinguished pair of Yongzheng story bowls from the Qing Dynasty is both marked and authentic to the period. Crafted with exquisite form, these bowls utilize the falangcai palette of colored enamels, which is notable for its vibrant hues and intricate details. Each bowl narrates a traditional Chinese story, with finely rendered figures that exemplify the artistry characteristic of falangcai enamels. The undersides of the bowls are adorned with the four-character Yongzheng Yuzhi mark, rendered in blue enamel within a double square—a hallmark of quality and authenticity. Attention should be drawn to the meticulous details, color balance, and shading that define these pieces. It is important to note the presence of some flaking in the biscuit, an indication of their age, while only minimal crazing is evident in the enamels, which often characterizes falangcai wares. The color palette itself remains remarkably beautiful. Each Yongzheng bowl measures approximately 6 1/4 inches in diameter. ppjrs

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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. ppjrs 

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Doucai Moon Flask from the Yongzheng Period of the Qing Dynasty, Featuring Imperial Mark

Yongzheng-marked Doucai Moon Flask, produced during the Qing Dynasty, features a design depicting the Flowers of the Four Seasons, characterized by vivid blooming flowers and blossoms. The term "Doucai" refers to the technique of contrasting colors, utilizing the Fencai enamel palette that was emblematic of the Yongzheng era. This moon flask displays signs of flaking in the biscuit, indicating its antique provenance, and stands approximately 12.5 inches in height. ppjrs 

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Qing Dynasty Imperial Qianlong Mark and Period Yellow-Glazed Ovoid Formed Vase Featuring Rooster Motif

This Qing Dynasty Marked and period Qianlong Rooster Vase exhibits an ovoid form characterized by a striking yellow ground. The vase is meticulously adorned with vivid depictions of three roosters, butterflies, birds, and an array of colorful flowering blooms. The reverse side features an elegantly inscribed poem accompanied by three seal marks. The artwork predominantly employs a loose, free-style brush technique, while select areas showcase fine detail executed with an exceptional brush. Collectors need to examine the nuances of this piece closely, paying particular attention to the details, color balance, and shading that contribute to its overall depth and harmony. Understanding the distinctions between merely good pieces and those that qualify as exceptional or masterpieces is key in the art of porcelain collecting. A closer inspection of Qing-era pieces often reveals variations in artistry, where certain examples may appear flat due to a lack of balance and detail, indicative of a less skilled artist. The Qianlong seal mark is aligned centrally within the painting, a characteristic feature of Imperial Qianlong porcelain. The Qianlong period is renowned as the zenith of porcelain production in China. This particular ovoid vase is crafted with notable skill, exhibiting signs of wear, including flaking in the biscuit, which further attests to its antiquity. The vase measures approximately 17 1/2 inches in height. 

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Kangxi Period Children Engaged in Play with Falangcai-Decorated Bowl Featuring Blue Four-Character Yuzhi Mark in Double Square 

This Qing Dynasty-marked Kangxi Children Playing Bowl exemplifies exquisite craftsmanship and artistry, utilizing a falangcai palette of vibrant colored enamels. The bowl features four distinct panels, each depicting various youthful revelries against a rich yellow background adorned with intricately incised patterns, showcasing detailed applications of blue and pink enamels. A meticulous examination reveals the careful attention paid to detail, color balance, and shading within each panel, indicative of the considerable skill required to produce such a masterpiece. Notably, the bowl displays flaking in the biscuit, a characteristic indicative of its age. The falangcai enamels are distinguished by their fine crazing, a feature present in this piece, enhancing its historical significance. The bowl is further identified by the Kangxi four-character yuzhi mark, executed in blue with double squares, found on the base. This Kangxi Bowl has a diameter of approximately 6 inches, affirming its authenticity and importance as a collectible item. ppjrs

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Imperial Yongzheng Mark And Period Doucai Dragon and Phoenix Dish From Qing Dynasty 

This dish, marked and produced during the Yongzheng period of the Qing Dynasty, features a refined depiction of a dragon and phoenix amidst swirling clouds. The term "doucai" refers to the technique of contrasting colors, characterized by the use of a distinctive palette of enamels that was prevalent during the Yongzheng era. The piece exhibits flaking in the biscuit, which serves as evidence of its antiquity; it measures approximately 17 7/8 inches in diameter. ppjrs 

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This exquisite Qing Dynasty Qianlong vase is distinguished by its unique mark and period authenticity. The vase features a rich brown glaze, meticulously adorned with finely painted gold scrolling vines and chrysanthemums. Additionally, it exhibits intricately molded branches, peaches, leaves, and mushrooms that gracefully wrap around its surface. The base is inscribed with an impressed Qianlong seal mark, while the foot ring displays signs of flaking in the biscuit, indicative of its age. The vase stands at

approximately 11 5/8 inches tall.

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Imperial Qing Dynasty Kangxi Lotus Bowl with Ruby Red Ground and Falangcai Enamels, Featuring a Puce Enamel Four Character Yuzhi Mark & Period within a Double Square 

This exceptional Kangxi Falangcai bowl, marked from the Qing Dynasty, exhibits an exquisite form and design. The piece features a rich ruby red ground adorned with a splendid palette of vibrant enamels, including delicate pinks and yellows, cascading across the floral motifs, complemented by verdant green tones that enhance the vines and leaves. The meticulous attention to detail, particularly in the color balance and shading, is noteworthy. Falangcai enamels are often characterized by fine crazing, a feature present in this bowl, further attesting to its authenticity and age, as evidenced by the flaking observed in the biscuit. The bowl also showcases the remarkable beauty of the Falangcai color palette. Importantly, the base is marked with the Kangxi four-character puce enamel yuzhi mark enclosed in a double square, confirming its provenance. This Kangxi bowl is exceptionally crafted, with a diameter of approximately 6 3/16 inches, making it a remarkable addition to any collection. ppjrs

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Qing Dynasty Yellow Ground Famille Rose Imperial Masterpiece: Qianlong Period Meiping Vase With Seal Mark

This exquisite Qing Dynasty Famille Rose Meiping Vase features a striking yellow ground adorned with intricately rendered brown branches and richly colored rose-hued blossoms, complemented by four meticulously detailed Magpie subjects. To fully appreciate the artist's skill and precision, we encourage viewers to enlarge the accompanying photographs. The reverse side of the vase displays an elegantly inscribed poem alongside three distinct seal marks, further enhancing its scholarly value. The vase exhibits a graceful form and boasts exceptionally fine painting techniques, indicative of the high standards characteristic of Imperial craftsmanship. Notably, the base displays the blue under-glaze Qianlong Seal Mark, aligning seamlessly with the vase's primary decorative elements, a hallmark of Imperial Qianlong pieces. Evidence of minor flaking in the biscuit material corroborates the vase's age. The vase stands approximately 12 3/4 inches tall and is recognized as an authentic and period-specific piece.

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Qing Dynasty Famille-Rose Hundred Deer Vase Bearing the Qianlong Seal Mark and Period

This Famille Rose hu-form vase, expertly crafted during the Qing dynasty under the Qianlong reign, features a six-character seal mark in underglaze blue, indicating its production during the period from 1736 to 1795. This exceptional work of art showcases a continuous motif of a herd of deer set within an idyllic natural landscape. The intricate details elucidate the deer engaged in various activities amidst a mountainous backdrop, complete with rocky terrain and gnarled pine trees. Notable elements include branches adorned with peaches, lingzhi fungus, and a stream cascading down the mountainside. The vase's handles are elegantly designed in the form of deer heads with antlers. This remarkable piece stands at

a height of 19 inches. ppjrs

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Pair of Kangxi Bowls from the Imperial Qing Dynasty Featuring Falangcai Palette and Blue Four-Character Yuzhi Mark of the Period in a Double Square 

This exceptional pair of marked and period Kangxi bowls from the Qing Dynasty exhibits a stunning form, utilizing the exquisite falangcai palette of colored enamels. Each bowl features four distinct panels adorned with Chinese characters, set against a blue background embellished with Buddhist symbols, scrolls, and floral motifs, all crafted in the falangcai style. Attention to detail is evident in the color balance and shading of these bowls. Furthermore, the presence of flaking in the biscuit underscores their antiquity. Notably, falangcai enamels are distinguished by fine crazing, a characteristic exhibited in these pieces, enhancing their aesthetic appeal. The bowls are marked with the Kangxi four-character yuzhi mark in blue, enclosed in double squares, located on the base. Each bowl measures approximately 5 7/8 inches in diameter. ppjrs

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

Ancient Treasures: Ru Kiln Secrets Revealed!

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

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

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

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

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

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

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

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

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

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

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

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Sotheby's sold these two Flawed Northern Song Dynasty Ru Ware brush washers in Hong Kong. Now Christie's has sold a flawed Ru Ware Tea Bowl in Hong Kong. They should return the money

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

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

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

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

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