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BEYOND COMPARE: A Thousand Years of the Literati Aesthetic






                          Dingzhou patterned porcelains rival the beauty of carved red jade,
                                         When Lugong brews tea in Sichuan style.


                                                          - Su Shi, Poem on Tea Brewing at the Examination Hall (1072)


            ⮚ʮ๦঩ኪГ໳d֛ψڀନ೚ߎ͗

                   ༊৫๦঩‘dᘽ༲dဢྐྵʞϋ€    










               n a 1072 poem titled Shiyuan jiancha (Tea Brewing at the Examination   ˸ɪ་̩ື፽І༊৫๦঩‘d݊̏҂˖Ⴔᘽ༲ίဢྐྵʞϋ຅؄ψ
            IHall), the venerated Northern Song literati and statesman Su Shi   ஷкࣛᄳɨٙᕏԊ̚་f༁ࠦ౤ՑΝྃ˖ܗ௹€̏҂࢓޴dഹ˖
            wrote  Lugong jiancha xue Xishu,  Dingzhou huaci zhuo hongyu, recalling
                                                                    ⮚ʮණ‘˸Г໳̚ج๦঩d঩ಷᅜɪϞڀ७֛ٙᇉͣନdಷЍع
            the event when his friend Wen Yanbo (style name Lugong, 1006-1097)
                                                                    ߎdൖᙂࣖ؈Ϟν຾ᎉ೚ٙߎ͗fவՇ̩ᒱ੽Ӛ౤Ց˜ͣ™οdۍ
            brewed tea using practices from Sichuan area, the colour of tea turned red
            against a carved Ding white-glazed bowl, the resulting effect resembled   ݺᜳݺତή༸֛̈ᇉନٙ౺ᆦͣᆗd˸ʿ֛ᇉኜί຅ࣛމࠬඩ˖ɛ
            carved red jade. This important record reveals to us that not only were   הఃٙ͜঩ՈfϞሳٙ݊dߒɚɤϋ˸ܝdίʩॖɞϋ€    d
            Ding bowls used for tea drinking, but were also favoured by esteemed   ᘽ༲ան֛̈ٝψd̙Ԉᘽ༲ၾ֛ᇉନϞഹʔ༆ʘᇝfՉ֛ψᑽ
            literati in the Song dynasty for its luminous white glaze, which created
                                                                    Ց΂ڌ‘༁ٙ఻̩˜Ѕ౲ʔාܮ͏௶d੗ࡌᗙ௪f᩽ೌɽཀd˸ʿ
            an attractive contrast with tea colour. Interestingly, two decades after Su
                                                                    ಂϋfနᒔ௡௢ʘඊd˸ଭࣳๆʘ౻™dһீᚣ̈வЗːᖩ࢕਷ٙ
            Shi wrote the poem on Ding white porcelains, in 1093 he was appointed
                                                                    ˖ɛdྊྊุุή຾ᐄ֛ψ݁ਕٙːྤfᘽ༲˸ܝd˜֛ψڀନ™
            Governor of Dingzhou, the state where the Ding kilns were located.
            Being a well-respected connoisseur and artist, Su Shi’s praise undoubtedly   ɓႧᄿމ˖ɛה͜dԷνږɛᄎ١€         ᓥᆑқ‘༁া˜֛
            solidified the status of Ding porcelains amongst subsequent connoisseurs.   ψڀନጀdᕙЍ˂ɨͣ™d̙ԈࣛЇږ˾ૉಂdϞڀ७֛ٙᇉͣନ
            The Jin-dynasty scholar Liu Qi (1203–1259), for example, wrote in his   Ա್ଉމ˖ɻה၈཰dԨிఱ֛ᇉନίܝ˰ዝɮʔসٙήЗf
            poem: Dingzhou huaciou, yanse tianxia bai (decorated porcelain bowls from
            Dingzhou have the best white colour under Heaven).      ͉䋘ኜҖཡඩ᎑ᑿdߣ৶୚ͣdཊΈᆋଋᆗዣdɠʈᄫᆞݴ࿫dމ
                                                                    ˜֛ψڀନ™ʕʘၚۜf̙ˢ༰ɓ΁७ུeኜҖ఻˷ɓߧٙԷɿd
            The present bowl is particularly desirable for its elegant form, fluent
            carving and resplendent glaze. A very similar bowl of almost identical   މ 0QQFOIFJN ᔚᔛdତᔛɽߵ௹ي᎜dഹ፽׵5IF  8PSME’T  (SFBU
            decoration and form, formerly in the Oppenheim Collection and now in   $PMMFDUJPOT   0SJFOUBM  $FSBNJDT‘d՜  dྡو    ໮f̤ɓ޴ЧԷಀഹ
            the British Museum, is illustrated in, The World’s Great Collections: Oriental   ፽׵      ϋ؇ԯ̈وʕ਷ௗှj̈Έߕஔ᎜ᔛۜྡ፽‘dܝί
            Ceramics, vol.5., pl. 20. Another closely related example, illustrated in        ϋ    ˜   ˚׵࠰ಥԳɻ੻שርdשۜ      ໮f͵Ϟɓ΁ኜҖ
            Chinese Ceramics in the Idemitsu Collection, Japan, 1987, no. 413, was sold   ʿˉʂ޴߰Էɿdઓ䋘ʫᇳ७ࠬࣸ৙ମdᔛ̏ԯ݂ࢗ௹ي৫dഹ፽
            at Christie’s Hong Kong, 1 December 2009, lot 1863. A hexafoil bowl
            of similar form and size, but with lotus carved in a slightly different style,   ׵ʕ਷ௗନΌණ  y  ֛ᇉ‘dɪऎd     ϋdྡو    ໮f"MGSFE
            dating to the Jin dynasty, is in the Beijing Palace Museum Collection,   $MBSL ˃ɛʿᏖᆗᓈಀ΋ܝ჈ᔛɓ΁ኜҖ޴Ч֛ٙᇉ䋘d䋘ʫڀ७ଫ
            illustrated in  Zhongguo taoci quanji – Dingyao, Shanghai, 1981, pl. 90.   ମd׵     ϋ ˜   ˚ॲߒᘽబˢשርdשۜ     ໮f
            Compare also to a Ding bowl of similar shape, but carved with different
            floral motifs featuring curling foliage, formerly in the Mrs. Alfred Clark
            and J.T. Tai collections, sold at Sotheby’s New York, 22 March 2011,
            lot 167.


















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