Page 13 - Sotheby's New York Linyushanren Part IV Auction September 13, 2018

for painting, the craftsmen were able to achieve results which were
both striking and strongly reminiscent of ink painting. This painting The ceramic decorators at the Cizhou
technique appears to have been adopted at several Cizhou kilns
including Guantai and Dongaikou 東艾口. Several of the pieces in kilns were the heirs to this tradition
the current sale were decorated in this way, including lots 815, 830,
831, 837 and 841, while the tiger pillow, lot 835, incorporated the of underglaze painting and took it
additional use of amber-coloured pigment in order to accentuate the to a new level. With a dense white
contrast of the animal’s skin. Tiger pillows of this type have been
found at the Hebiji kiln site (see Zhang Bai in Complete Collection of slip ground and the dense black/
Ceramic Art Unearthed in China, 12, Henan, Beijing, 2008, p. 199,
no. 199, and at the Juntai 鈞台 kiln site at Yuzhou 禹州 (see ibid., dark brown used for painting, the
p. 198, no. 198). A mid-12th century date for these tiger pillows is craftsmen were able to achieve results
indicated by the fact that a tiger pillow of this type, excavated from
a Jin dynasty tomb at Haojiazhuang 郝家莊, Changzhixian 長治縣, which were both striking and strongly
Shanxi province bears a date equivalent to AD 1155 (see Zhang Bai
in Complete Collection of Ceramic Art Unearthed in China, 5, Shanxi, reminiscent of ink painting.
Beijing, 2008, p. 77, no. 77), while another tiger pillow in the
collection of the Shanghai Museum bears a date equivalent to AD
1162. There are several tiger pillows in the collection of the Palace
Museum, Beijing (see The Complete Collection of Treasures of the Palace a vase of this type was found at Bacun (see Wenwu, 1964, no. 8,
Museum-32,-Porcelain of the Song Dynasty (1), Hong Kong, 1996, p. p. 33, fg. 11). A vase of this type was also excavated in 1992 from a
232, no. 209 and pp. 234-5, no. 211). Jin dynasty tomb in Mianchixian 渑池縣, Hebei province (illustrated
Three of the painted vessels in the current sale demonstrate the by Zhang Bai in Complete Collection of Ceramic Art Unearthed in China,
effective combination of horizontal parallel lines and abstract leaf or 3, Hebei, Beijing, 2008, p. 193, no. 193), while a very similar vase
feather forms – see lots 830, 831, 837, which was especially popular is in the collection of the William Rockhill Nelson Gallery-Atkins
on deep bowls and vertical forms. Deep bowls with decoration Museum of Fine Arts, Kansas City (see Y. Mino and K. Tsiang, op.
similar to that on lot 831 have been found at the Bacun 扒村 kiln cit., pp. 174-5, pl. 75). The impressive, tall meiping vase, lot 830 was
site at Yuxian, and a similar bowl was also excavated from a tomb in also probably made at a kiln in Yuxian, and is of a type which clearly
Yuxian in 1959 (see Wenwu, 1960, no. 5, p. 87). found considerable favour in the Jin period. A similar vase is in the
collection of the Palace Museum, Beijing (see The Complete Collection
The pear-shaped vase with long neck and everted mouth, lot 837, of Treasures of the Palace Museum,-32,-Porcelain of the Song Dynasty (1),
probably comes from one of the Cizhou kilns in the Yuxian area and Hong Kong, 1996, pp. 166-7, no. 152), while other vases from this
group, from various international collections, are illustrated by Y.
M
Mino and K. Tsiang, op. cit., pp. 160-61, pl. 68 and fgs. 179-82).i
The elegant truncated meiping vase, lot 815, in the current sale h
T
c combines the boldness of underglaze painting in black on white om
with delicately incised detail. Both the form of this vase and the it
w
s singular style of decoration with large foral sprays appears to have in
b been particularly favoured in the 12th century. A similarly decorated ee
t truncated meiping, with the addition of fying insects, was excavated ru
in 2001 at Cui’erzhuang 崔尔莊, Cangzhou city 沧州市 (see Complete n
i
Collection of Ceramic Art Unearthed in China, 3, Hebei, op. cit., p. 126, o
C
n
no. 126). Another similarly decorated truncated meiping, with a triple o
s spray of peonies, was excavated in 1984 at a pharmaceutical factory pr
i in Anyang 安阳 (illustrated Complete Collection of Ceramic Art Unearthed n
i in China, 12, Henan, op. cit., p. 190, no. 190). Further examples n
w
with single peony sprays are in the Kyusei Hakone Art Museum, it
the William Rockhill Nelson Gallery-Atkins Museum of Fine Arts, he
t
K
Kansas City, the Tokyo National Museum and the Sano Museum a
(illustrated by Y. Mino and K. Tsiang, op. cit., pp. 198-201, pls. 87 ill
(
a and 88 and fgs. 248 and 249, respectively). Similar peony sprays nd
w
were also applied to jars at the Guantai kiln site, some of which were e
g
given a green glaze (see Complete Collection of Ceramic Art Unearthed iv
in China, 3, Hebei, op. cit., p. 177, no. 177). This type of foral spray n
i
w
was further applied to trumpet-mouthed vases at the Guantai kiln (see a
The Cizhou Kiln site at Guantai, op. cit., colour plate IX, no. 2 and h
T
b black and white plate XXIII, nos. 1 and 2).la
In addition to the strength of their forms and the bold beauty of n
I
their decoration, the diversity and innovation of Cizhou wares has he
t
endeared them to international collectors since the time of their nd
e
m
manufacture, and has made them an endlessly fascinating subject a
for research.or
f
Lot 15
拍品815號
11