Page 192 - Beyond Compare Christie's Hong Kong RU WARE .pdf
P. 192

BEYOND COMPARE: A Thousand Years of the Literati Aesthetic
































                       fig. 2  Eighteen Scholars: Chess (detail). Ming dynasty.    fig. 3  Twelve Beauties: Looking in a Mirror. Qing dynasty.
                         Collection of the National Palace Museum, Taipei         Collection of the Palace Museum, Beijing
                      ॱ̣   ᒝ   ǗډՋೀૈॱ䢴ᚨǘ䢮൐㒴䢯   ४⒤ᐅ೫ښḵ㡗ⳉި                       ॱ˕   ᪹   Ǘ⟞́ॱ䢴യ㜽ǘ䢮൐㒴䢯   ᐅ೫ښḵ㡗ⳉި

            With their bold forms, sophisticated glazes and innovative use of colour, Jun wares are   ඓନٙཊЍփˌd݊҂ږʩɧ˾௰ˏɛɝ௷ٙ̚ௗ
            some of the most striking ceramics of the Song, Jin and Yuan periods. They rarely have   ନʘɓfɽ௅΅ٙඓନ̮ڌΈ९d˸ێᆗԪዤϾଉ૵
            any surface decoration, but rely for their impact on a remarkable glaze which is thick,   ʔɓٙᔝཊމतЍfඓཊމͩϲ᜽ཊdνՉ˼ڡཊɓ
            opalescent and appears in various tones of blue.  The Jun glaze is of lime-alkali type,   ᅵd௅΅ᔝЍ͟ˇඎःʷ᚛ίᒔࡡं؟ʕደϓdவۍ
            but its particular qualities have been the subject of much research. The opalescence and
                                                                              Ԩڢிఱඓཊߕชٙ˴ࠅΪ९dϾ݊ᓥΪ׵ཊʫ߰ʍ
            much of the blue appearance of the glaze are caused by several in-glaze phenomena,
                                                                              ତ൥fඓཊٙ˴ࠅᔝЍމΈᇞұ࢛ˏৎd௰ࠠࠅɓᓃ
            the most important of which is liquid-liquid phase separation - the formation of tiny
                                                                              ݊˜ɚ૰ʱ޴ج™dуў৷ᾼٙඓཊʕओᘔഹฆ୚ٙ
            globules of lime-rich glass within the silica-rich glaze matrix. To produce this emulsion,
                                                                              ޚᆨሯ୐ɿd޴ഃ׵ذձቒଡ଼ϓٙӍזᔽ͒fඓཊࠅ
            the Jun glaze had to be kept at a high temperature for a significant period and had to be
                                                                              ପ͛வ၇Ԫኒً࿒d̀඲ڗࣛග৾वί৷๝ً࿒ɨd
            cooled very slowly. The typical northern Chinese mantou or bread-bun kiln was ideal
                                                                              ್ܝ࿔࿔и䁻fʕ਷̏˙ٙᗷ᎘ᇉ͟׵ཞᆠ̌ঐᎴ
            for firing this type of glaze, since it had excellent insulation.
                                                                              ԄdᆽঐϓఱഒԳٙඓཊࣖ؈f
            The present jardinière belongs to a rare group of Jun vessels comprising narcissus bowls,
            flower pots, and zun-shaped vases, where each vessel has been incised or stamped with   Ϥڀޯ᙮׵ඓନʕɓᗳֵ௅ՍאΙϞᅰοٙޯ౻ኜd
            a Chinese numeral on the base. The numbers range from one to ten, and judging from   ڳ၈ᅰοඓନfՉᅰඎ೽ˇdεމ૶ࢗᔚᔛdމඓନ
            the examples in museums and those examined from the excavations at Juntai, Yuxian,   ʕ௰މޜ൮ٙɓᗳfᅰοඓନֵٙ௅ᅰο੽ɓЇɤd
            the numbers relate to the size of the vessels - ten representing the smallest size and one   ʱؓ௹ي᎜ᔛۜʿ߃ጤඓ̨ᇉѧ೯ઢ̙೯ତவԬᅰο
            the largest. A significant number of these numbered vessels have survived in palace   Ꮠၾኜيɽʃϓˀˢᗫڷd˜ɤ™މ௰ʃd˜ɓ™މ
            collections and Jun ware bulb bowls, plant pots and plant pot stands of different forms   ௰ɽf׼e૶ࢗҒᖭ೥ʕࣛ੬ԈϞᅰοඓନٙԒᅂd
            can be seen in various court paintings of Ming and Qing dynasties, such as in Eighteen
                                                                              Չաࠠൖٙ೻ܓd̙Ԉɓ౴dν׼ɛɤɞኪɻྡg
            Scholars: Chess (fig. 2), where a similar jardinière containing calamus roots is depicted
                                                                              ಒ‘ʕۃ౻̛ਜٙ΃ᙒόڀޯ€ྡɚdʿ૶ߕɛ
            in the right foreground, and in Twelve Beauties: Looking in a Mirror (fig. 3), where a
                                                                              ྡg࿁ᗝ‘ʕ೿̨ɪٙໟόڀޯ€ྡɧf
            mallow-form jardinière is placed on the windowsill.
                                                                              Ϥ΁ڀޯ݊ͦۃהٝਬɓٙɓ΁˜̬™໮΃ᙒόڀ
            The present jardinière is the only example of this rare form bearing the numeral si,
            ‘four’. Other jardinières of this form are found with different numerals, these include   ޯfՉ˼ٙ΃ᙒόڀޯ̙ਞϽ̨݂̏ࢗ௹ي৫ᔛɧ
            three in the National Palace Museum, Taipei, variously incised with numerals ‘one’,   ΁dʱމ˜ɚ™໮e˜ɞ™໮e˜ɘ™໮dʱ༱׵
            ‘eight’, ‘nine’, and illustrated in A Panorama of Ceramics in the Collection of the National   ݂ࢗᔛନɽӻ ඓᇉʘ௅‘d̨̏d    ϋdᇜ໮
            Palace Museum: Chün Ware, Taipei, 1999, nos. 17, 18, 19, respectively; one in the     e  e  iᔚږʆԭݲᖵஔ௹ي᎜"WFSZ #SVOEBHF
            Avery Brundage Collection in the Asian Art Museum of San Francisco, incised with   ޜᔛ˜ɚ™໮ɓ΁dԈ$IJOFTF $FSBNJDT  " /FX
            numeral ‘two’, illustrated in Chinese Ceramics: A New Comprehensive Survey, New   $PNQSFIFOTJWF 4VSWFZ‘dॲߒd    ϋdᇜ໮   i
            York, 1996, no. 237; and a further example also incised with numeral ‘two’ from the   ˸ʿᏖᆗᓈeᆀഛੀ΋ܝ჈ᔛ˜ɚ™ɓ΁d௰ڐ׵࠰
            collections of J. T. Tai Foundation and Leshantang, last sold at Sotheby’s Hong Kong,   ಥᘽబˢ    ϋ ˜  ˚שርdשۜ    ໮f
            11 April 2008, lot 2508. Compared to this shape, there seems to be a greater number
            of known Jun jardinères in mallow form, these include one with a matching stand   ޴༰ʘɨdπ˰ٙໟڀόڀޯᅰඎ৷̈஢εdܼ̍j
            with numeral ‘three’ in the Tianjin Museum, illustrated in Tianjin shi yishu bowuguan   ˂ݵᖵஔ௹ي᎜ᔛ˜ʞ™໮ɓ΁ஹࢭdԈ˂ݵ̹ᖵ
            cangci, Hong Kong, 1993, no. 37; another with numeral ‘nine’, also with matching   ஔ௹ي᎜ᔛନ‘d࠰ಥd    ϋdྡو  ໮i࠰ಥԳ
            stand, sold at Christie’s Hong Kong, 30 May 2012, lot 3976.       ɻ੻שር˜ɘ™໮ɓ΁ஹࢭd    ϋ ˜  ˚dשۜ
                                                                                  ໮f


        180  ʔɭ { ҂˾ߕኪɓɷϋ
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