Page 145 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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wares all display a variety of glazes predominately representing celadon or a green tone;

                   however, variations in glaze can range from crackled whites to light blues.  These wares


                   were made for the imperial court and were among the first wares to have regulations

                   relating to production set by the palace. 181   One example of this type of collected ware


                   can be found in the imperial collection, which is currently at the National Palace Museum

                   (Figure 44).  The collection houses a Ding ware bowl dating to the Northern Song


                   dynasty (960–1127).  This bowl has an off-white glaze that emphasizes its color due to

                   the absence of additional decoration.  The top rim is detailed with a copper edge, which is


                   contrasted by the pure glaze color.  The characteristic “tear stain” of ding wares can be

                   seen on the vessel’s exterior.  This phenomenon occurs as a result of the glaze heating


                   rapidly, slowly running down the vessel’s surface, and finally hardening.  The raised

                   pattern that resulted from this occurrence was deemed aesthetically appealing at that time

                   and was also a characteristic desired by later Chinese collectors.  Despite some wares


                   being held in remarkably high esteem over generations of collectors, these highly sought-

                   after wares did not make up a huge portion of the collecting that occurred historically in


                   China.  This was the result of the five great wares being produced in such small quantities

                   over a condensed period of time making them extremely rare. 182


                          There is limited available documentation of how collectors procured their

                   porcelain in China.  It is clear that one monumental influence on Chinese collectors was


                   the imperial styles set by the Forbidden City.  Ultimately, the emperor had control over


                   181  Rosemary E Scott and Stacey Pierson, “The Chinese Imperial Collections,” Collecting
                   Chinese Art: Interpretation and Display, 2000, 19–32.
                   182  Wares of this variety were first produced during the reign of Huizong (1101-1125).  Records
                   dating to this reign indicate the rarity of the ru type wares, making them extremely difficult to
                   find even in the era in which they were produced.


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