Royal Imperial Ru Ware that Emperor Huizong of Song, Commissioned and Collected

During the Northern Song Dynasty Explained

Facts that were written about the Ru Kiln and Emperor Huizong in ancient writings that describe Ru wares.

Groundbreaking Discovery Challenges the Established History of Ru Ware

[Cherry Hill NJ 05/25/2025] – A shocking revelation in the world of ancient Chinese ceramics is set to disrupt the established understanding of Ru ware, one of the most prized ceramics of the Song Dynasty. Independent researcher and collector [Joseph Sharon] has uncovered irrefutable evidence proving that Imperial Ru wares incorporated crushed blue agate in their glazes and fire-gilded bands on their rims and bases—features that have been systematically ignored by museums and auction houses.

With a personal collection of over 300 pieces and extensive microscopic imaging evidence, [Joseph Sharon] has repeatedly attempted to present these findings to leading institutions, only to be met with silence and resistance.

Microscopic Evidence Exposes Long-Held Myths

Through high-resolution microscopic analysis, the presence of blue agate within Ru ware glazes has been confirmed. This contradicts the long-held claim that no such material remained after firing or was used in Song Dynasty ceramics. Agate, with its unique melting properties, remains intact within the glaze, creating a distinctive and recognizable effect that is scientifically impossible to replicate artificially.

Furthermore, many of these artifacts feature fire-gilded bands, a lost technique using a gold and mercury mixture that corrodes naturally over time, forming cuprite and botryoidal malachite—a signature of genuine Imperial wares. This technique has not been in use since the mid-1800s due to safety concerns, further proving the age and authenticity of these artifacts.

Resistance from Museums and Auction Houses

Despite sharing detailed analyses and microscopic photographs, leading auction houses and institutions, including the Palace Museum in Taiwan, have refused to examine the collection. The implications of this research challenge the credibility of millions of dollars' worth of past Ru ware sales, many of which were misattributed merchant-grade wares.

"The art world must prioritize historical accuracy over institutional reputations and market interests," says [Joseph Sharon]. "Refusing to engage with this evidence is a disservice to scholarship and collectors alike."

Call to Action: Seeking Open-Minded Scholars and Institutions

[Joseph Sharon] invites independent researchers, universities, and institutions to examine the collection and conduct independent testing to validate these findings.

In an effort to bring transparency to the art and research world, a new website is set to launch, showcasing high-resolution microscopic images, detailed reports, and side-by-side comparisons with known Ru ware artifacts.

History must be shaped by evidence, not by the reluctance of institutions to admit past mistakes. The time for truth is now.

For media inquiries, interview requests, or collaboration opportunities, please contact:

[Joseph Sharon]
[E-MAIL Joseph.Sharon@chinesemasterpieces.com]
WEBSITE [https://www.chinesemasterpieces.com] 

[Joseph Sharon] is a dedicated independent researcher and collector specializing in Song Dynasty ceramics. With an extensive collection and a passion for uncovering historical truths, [Joseph Sharon] has spent years analyzing and documenting evidence that challenges conventional narratives. Through scientific analysis and meticulous research, their goal is to bring long-overdue transparency to the world of ancient Chinese ceramics.

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

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

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

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

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

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

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

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

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