Page 98 - Sotheby's Arcadian beauty Song Pottery Oct. 3, 2018

THE EDWARD T. CHOW ‘BUBBLE’ BOWL

This spectacular small bowl, with its captivating colours and Far from being a mere application of different glazes, the
a breathtakingly glossy sheen veiled over the interior, is an captivating purple-and-blue colour combination seen on
exceptional paradigm of the most coveted qualities of a ‘Jun’ ‘Jun’ wares is in fact a multi-layered optical illusion steeped
‘bubble’ bowl and arguably the greatest example in private in unpredictability. The bright sky-blue ground derives not
hands. The characteristic vibrant hues of ‘Jun’ ware have from a pigment but from an optical illusion that mirrors the
always been held in high esteem since the Song dynasty and blue of the sky; microscopic glass droplets are formed from
a blue-and-purple colour combination, whilst not common, the firing of the glaze and subsequently scatter and cast off
is very rarely complemented with highlights of leaf-green blue light. The dramatic purplish-red splashes, on the other
as seen on the current bowl. Such unusual and ravishing a hand, are achieved through an application of copper-based
juxtaposition is arguably unprecedented and one that has pigment splashes and washes, often with a brush, which then
never been equalled again. merge with the dried milky sky-blue ground before being
fired in a reduction kiln. Very rarely does the concentrated
This vessel is often referred to in the West as a ‘bubble’ bowl
copper pigment re-oxidise and transmute to shades of green
– and aptly so – by virtue of the shiny reflection in its interior,
as it does on both the interior and exterior of the present
which evokes the optical illusion of a globular soap-bubble
bowl, where attractive leaf-green dapples and patches are
rising from the rim of the vessel. Set against the remarkably
whimsically encircled by lavender haloes.
flamboyant and glossy glaze on the interior of this current
bowl, this optical illusion of a thin opalescent soapy surface Since the shades of the sky-blue ground and purplish-red
is all the more striking. There is no question that the current splashes vary from piece to piece, no two ‘Jun’ vessels
bowl, with its millennial lustre and brilliance preserved, ranks are alike and the unpredictability of the final outcome - as
among the most desirable and iconic extant examples of its though created by nature - plays a vital role in its desirability,
type. particularly amidst the Song ruling elite. The Northern Song
dynasty witnessed great political, social and economic
‘Jun’ ware, with its type site represented by the Juntai kilns
changes that led to a ferment of ideas across the board,
in the former region of Junzhou, modern-day Yuxian, Henan
dramatically carving out a different intellectual climate and
province, was produced by many different manufactories
aesthetic sensibility defined by simplicity, modesty and
in Henan, including the Ru kilns at Qingliangsi in Baofeng,
naturalism, marking a far cry from that of most erstwhile
probably from the end of the Northern Song period (960-1127)
ruling classes in China and beyond. Devoid of extravagant
until at least the Ming dynasty (1368-1644). In comparison to
materials, lavish designs and abidance by stringent guidelines,
the other important Song wares, the bodies of ‘Jun’ wares are
the seemingly simple small stoneware bowl, probably used
more thickly potted, which is a contributing factor to the more
for drinking wine, is rich in individuality, asymmetry and
simplistic forms – as well as the viscous glazes. As water
abstraction, enticing one for an intimate inspection of its
from the glaze is absorbed by the porous biscuit in the firing,
timelessness and spontaneity – in which the lush colours of
the glaze appears thicker, lending itself to a more substantial
nature are deeply imbued.
covering.

96 SOTHEBY’S 蘇富比