三千年
的
中國藝術
chinese art
across
three millennia
Objects ⋅ Stories ⋅ Connection
Selected works
精選藏品
This finely potted black-glazed cup is a striking example of Yuan dynasty Cizhou-type stoneware, notable for its lustrous oil-spot glaze and bold sculptural form. The vessel has a rounded compressed body rising to a gently flared rim, its elegant silhouette enhanced by the thick, richly textured black glaze covering the exterior and interior surfaces.
The glaze displays an attractive oil-spot effect, created through the complex interaction of iron-rich glaze and kiln atmosphere during high-temperature firing. Across the glossy black surface appear countless silvery metallic speckles that shimmer subtly under light, recalling the appearance of scattered oil droplets. This distinctive effect reflects the technical sophistication and experimental spirit of northern Chinese kilns during the Yuan dynasty.
The slightly uneven, hammered-like glaze texture further enhances the tactile quality of the piece, while the exposed foot reveals the pale buff stoneware body beneath. Black-glazed wares of this type were admired for their dramatic visual contrast, robust forms, and rich glaze effects, embodying the powerful aesthetic associated with Yuan dynasty ceramics.
Displayed here upon a carved wooden stand, the cup possesses a quiet yet commanding presence, combining simplicity of form with the dynamic beauty of its oil-spot glaze.
Width: 8.5 cm.
Height: 5.5 cm.
Provenance:
Private Taiwanese collection.
Exhibited:
Splendor of China – Song and Yuan Porcelain, National Museum of History, Taipei, 2008.
Published:
Cheng Qiren, Splendor of China – Song and Yuan Porcelain, Taipei: National Museum of History, 2008, catalogue no. 54, exhibition no. 138, pp. 138–139.
A fine Northern Song Dynasty Qingbai dish, delicately potted and measuring 13 cm in diameter. The shallow form is elegantly shaped with a gently lobed rim, creating a subtle floral outline that enhances its refined appearance.
The interior is decorated with an incised floral motif, likely a stylised peony, executed with soft, fluid lines beneath a translucent pale bluish-green Qingbai glaze. The glaze pools attractively in the recesses, accentuating the design, while thinning slightly at the rim to reveal the pale, finely levigated body beneath. The exterior is simply finished, allowing the purity of form and glaze to take precedence.
The piece is in very good condition for its age. There are no signs of restoration or repair. The glaze remains well preserved with a soft, lustrous sheen.
A refined and scholarly example of Song Dynasty Qingbai ware, embodying the understated elegance and technical sophistication of the period.
Provenance: Private collection, Scotland
This finely moulded Liao dynasty sancai-glazed dish is a rare and elegant example of northern Chinese ceramic production during the Khitan Liao period. Of square form with gently barbed sides, the dish is richly decorated in amber, green, and cream sancai glazes, the luminous colours pooling attractively within the moulded contours of the design.
At the centre is a raised floral medallion surrounded by stylised foliate motifs framed within geometric compartments, all rendered in high relief with remarkable clarity and vitality. The softly undulating rim further enhances the sculptural quality of the piece, while the contrasting sancai glazes create a vivid interplay of colour and texture characteristic of Liao ceramic aesthetics.
The dish reflects the continued development of Tang sancai traditions in northern China, interpreted through the bold decorative vocabulary and robust modelling associated with Liao dynasty ceramics. Pieces of this type are admired for their lively glazing effects, architectural symmetry, and strong ornamental presence.
Width: 12.6 cm.
Provenance:
Private Taiwanese collection.
Exhibited:
Good Fortune Throughout History: Black Glaze and Porcelain from Tzu-chou and Ji-chou Kilns, National Museum of History, Taipei, 2004, exhibition no. Zhan 146.
Published:
Cheng Qiren, Good Fortune Throughout History: Black Glaze and Porcelain from Tzu-chou and Ji-chou Kilns, Taipei: National Museum of History, 2004, catalogue no. 146, p. 21.
This elegant Yue ware foliate dish is a refined example of celadon production from the Five Dynasties period, a time when Yue kilns of Zhejiang province produced some of the most admired green-glazed ceramics in China. The dish is delicately potted with softly lobed foliate sides, its restrained form embodying the understated aesthetic associated with early Yue celadon.
Covered in a smooth olive-green glaze of gentle, jade-like tone, the surface possesses the quiet luminosity and subtle refinement that made Yue wares highly prized during the late Tang and Five Dynasties periods. The thinly applied glaze reveals the fine pale body beneath in places around the foot rim, while the softly undulating floral outline lends the vessel an elegant sculptural rhythm.
The simplicity of the form, combined with the purity of glaze and proportion, reflects the sophisticated ceramic ideals that would profoundly influence later Song dynasty aesthetics. Yue celadons of this type were celebrated for their restrained beauty and technical precision, representing an important stage in the development of monochrome Chinese ceramics.
Diameter: 16 cm.
Provenance:
Private Taiwanese collection.
Exhibited:
Splendor of China – Song and Yuan Porcelain, National Museum of History, Taipei, 2008.
Published:
Cheng Qiren, Splendor of China – Song and Yuan Porcelain, Taipei: National Museum of History, 2008, catalogue no. 17, exhibition no. 153, pp. 54–55.
This pair of finely crafted Qingbai-glazed porcelain boxes exemplifies the understated beauty and technical refinement of Song dynasty ceramics. Both boxes are of circular form with domed lids, each decorated in low relief with floral motifs, one featuring a boldly incised lotus blossom with vertical fluting around the body, the other adorned with a blossoming branch surrounded by scrolling peony designs.
Covered in the translucent Qingbai glaze (literally “blue-white”), the porcelain displays soft variations in tone from icy blue to pale celadon, a hallmark of Jingdezhen kilns. The glaze pools in the recessed decoration, subtly enhancing the relief and adding depth to the surface.
These boxes were likely used to hold cosmetics, incense, or small precious items, reflecting the literati values of simplicity and grace.
Diameter x Height (Left): 6.8cm x 3.5cm
Diameter x Height (Right): 7cm x 5cm
Provenance: Private Collection from London
此對精緻的宋代青白釉瓷盒為宋代瓷器工藝的典範，展現出簡約雅致之美與技術的精湛。兩盒皆為圓形盒身，蓋頂隆起，一盒飾有挺拔的蓮花紋與垂直弦紋，另一盒則飾以花枝紋樣，外圍環繞纏枝牡丹，構圖豐富而層次分明。
全器施以青白釉（又稱影青），釉色在光線下呈現冰藍至淡青綠之微妙色階，為景德鎮窯獨特風格。釉彩於浮雕紋飾處自然積釉，使花紋更加柔和立體，增添視覺深度。
此類瓷盒常用於盛放化妝品、香料或小件珍品，體現宋代文人所追求的清雅、簡靜之審美精神。
直徑 × 高度（左）： 6.8 × 3.5 公分
直徑 × 高度（右）： 7 × 5 公分
來源： 倫敦私人收藏
Exhibited: The National Museum of History, Taipei, 2008
Published: Cheng Qiren, 玉潤玄光 : 宋元名窯瓷器展 (Splendor of China- Song and Yuan Porcelain), The National Museum of History, Taipei, 2008, catalogue no. 49, exhibition no. 440, pp. 126
來源
洪敏昌先生舊藏
展覽：「玉潤玄光：宋元名窯瓷器展」，國立歷史博物館，中國台北，2008。
著錄：成耆仁著：《玉潤玄光：宋元名窯瓷器展》，中國台北：國立歷史博物館，2008，圖版49，展覽編號440，頁126
