Page 153 - J.J. Lally Chinese Art CHRISTIE'S March 23 2023 NYC

Fig. 1 Gall-bladder-shaped vase in celadon glaze, Guan ware, Southern Song dynasty (1127-1279). National Palace Fig. 2 Guwan tu (Pictures of Ancient Playthings), handscroll (detail), 1728, Yongzheng reign (1723-1735). Sir Percival David Collection, The British Museum,
Museum, Taipei, 故瓷017702N000000000. London, PDF,X.01. © The Trustees of the British Museum.
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admired by connoisseurs (see P.B. Vandiver and W.D. Kingery, At each firing there would have been some losses, making these distribution of the crackles, while the throwing of the neck often of the catalogue compare the National Palace Museum vase to the
"Celadons: The Technological Basis of Their Visual Appearance", ceramics extremely expensive to produce and additionally precious. set up stresses within the clay that resulted in visually pleasing Qingpu excavated example and date it to the Southern Song-Yuan
Appendix A in Y. Mino and K.R. Tsiang, Ice and Green Clouds: The wares were fired in a reducing atmosphere using wood and spirals in the crackle rising from the shoulders to the mouth. This dynasty. Two similar vases, also from the Qing court collection,
Traditions of Chinese Celadon, Indianapolis, 1987, pp 221-3). In order brushwood as fuel in order to facilitate the achievement of a bluish- can be seen to particular advantage on the current vase. It can but identified as Ge ware, have been preserved in the Palace
to achieve the optimum colour, texture and crackle, the vase would green glaze. It would have been very difficult for the potters to also be seen, although somewhat obscured by staining and other Museum, Beijing and illustrated in The Complete Collection of
first have been fired without glaze. Although the main firing of control precisely the atmosphere up the entire length of the dragon effects of burial, on a Guan ware vase of similar shape which Treasures of the Palace Museum, vol. 33, Porcelain of the Song Dynasty
Guan wares was done in a large long ‘dragon’ kiln, small kilns have kilns, and the best pieces – such as the current example - would was excavated in 1953 from one of the famous Ren family Yuan II, Hong Kong, 1996, pp. 40-2, nos. 35 and 36. Both the Beijing
also been found at the Jiaotanxia site and at the other Guan ware have been fired in the middle of the kiln. As the final firing was dynasty tombs at Gaojiatai, Qingpu district, Shanghai (illustrated vases have the more straw-coloured glaze with darker crackle
o
site at Laohudong. It is likely that these smaller kilns would have been at 1000-1100 C, both body and glaze are slightly underfired, in The Complete Collection of Ceramic Art unearthed in China, volume associated with Ge ware.
been used for this so-called biscuit firing. Biscuit firing to a low but above this temperature the glaze becomes transparent, and 7, Jiangsu and Shanghai, Beijing, 2008, no. 30).
temperature not only stabilised the body prior to glaze application, would have lost its much-revered lustrous quality. The continued imperial appreciation of Song dynasty crackled
but the removal of water from the clay also aided the production Another similarly-shaped Guan ware vase is in the collection of ware vases of this form is further evidenced by the inclusion of such
of a bluish glaze colour. After each application of glaze, the vase Although rare in the Song dynasty, extant examples of this vase the National Palace Museum, Taipei. (Fig. 1) This was included a piece in a long handscroll in the collection of Sir Percival David,
would have been fired again at a low temperature, before the form may be found among both Guan and Ge wares. Indeed, this in the 2016 exhibition Precious as the Morning Star: 12th-14th which was painted in 1728 for the Yongzheng Emperor (1723-35)
next glaze layer was added. Thus, some of the finest Guan wares, was a form that was particularly well-suited to crackled glazes. Century Celadons in the Qing Court Collection, and is illustrated in (see E. Rawski and J. Rawson (eds.), China – the Three Emperors
such as the current vase, may have been fired up to five times. On the one hand the smooth contours of the shape allowed even the catalogue on pages 164-5, exhibit number II-47. The authors 1662-1795, London, 2005, p. 253, middle row). (Fig. 2) The scroll,

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