Page 89 - J.J. Lally Chinese Art CHRISTIE'S March 23 2023 NYC

838 A CIZHOU SGRAFFIATO DEEP BOWL 北宋ǭ磁州窯黑釉刻花卷草紋缽
NORTHERN SONG DYNASTY (AD 960-1127)
The deep rounded sides are carved through the dark brown glaze Ϝ源
藍理捷
紐約
編號
to the white slip ground with a band of five stylized leafy sprays
between line borders. The brown glaze extends slightly over the 展覽
in-curved mouth rim on the white slip-covered interior and the 紐約
藍理捷
「$IJOFTF $FSBNJDT JO #MBDL BOE 8IJUF」
vessel is covered overall with a clear glaze that stops above the 年 月 月 日
編號
foot ring.
֨ḛ
6 in. (15.2 cm.) high, cloth box 藍理捷
《$IJOFTF $FSBNJDT JO #MBDL BOE 8IJUF》
紐約
年
編號
$15,000-20,000
PROVENANCE: A Cizhou jar of similar shape, with a design of ‘cash’ pattern cut
J. J. Lally & Co., New York, no. 4502. through the dark brown glaze to the white slip ground, from the
Linyushanren Collection, was sold at Christie's New York, 22
EXHIBITED:
New York, J. J. Lally & Co., Chinese Ceramics in Black and White, March 2018, lot 508. Another deep bowl of this distinctive shape
20 March-10 April 2010, no. 27. carved with a design of foliate sprays and small florettes in The
Metropolitan Museum of Art is illustrated by Y. Mino in Freedom
LITERATURE: of Clay and Brush Through Seven Centuries in Northern China: Tzu-
J. J. Lally & Co., Chinese Ceramics in Black and White, New York,
chou Type Wares, 960-1600 AD, Indianapolis, 1980, pp. 110-11,
2010, no. 27.
no. 43.
The design found on the present jar, with leafy sprays on a combed
ground, can also be found on a white-ground Cizhou jar of
the same shape, also from the Linyushanren Collection, sold at
Christie’s New York, 24 July 2020, lot 63.

The result of Oxford Authentication Ltd. thermoluminescence test
no. P109a50 is consistent with the dating of this lot.

837 A MARBLED BOWL 北宋 金ǭ絞胎盌
NORTHERN SONG-JIN DYNASTY (AD 960-1234)
The bowl is formed from chocolate-brown and milk-white Ϝ源
藍理捷
紐約
編號
marbled clay forming ‘feather’ patterns beneath a plain white slip
band at the rim, all under a clear glaze.
4º in. (10.8 cm.) diam., brocade box
$10,000-15,000

PROVENANCE:
J. J. Lally & Co., New York, no. 4568.

Marbling, known in Chinese as jiao tai (mixed clay), became a A very similar Song-dynasty marbled bowl with parallel ‘feather’-
popular decorative technique on ceramics of the Tang dynasty and pattern, white rim and flat base, is illustrated by R. Krahl in
continued to be made throughout the Song-Jin period at a number Chinese Ceramics from the Meiyintang Collection, vol 3. (II), London,
of northern kilns, including the Kuangshan kilns in Jiaozuo and 2006, p. 527, no. 1528. Another very similar example from the
the Dangyangyu kilns in Xiuwu county, both in northern Henan Dangyangyu kiln site in Henan province, now in the collection
province. The marbled appearance could be achieved either by of Henan Archaeological Research Institute, is illustrated in
combining clays of different colors when making the vessel, as Zhongguo Dangyangyu yao (Chinese Dangyangyu Kiln), Beijing,
is the case with the present bowl, or by slicing the twisted and 2011, p. 137, no. 125. See, also, a similar example from the tomb
kneaded clay into thin layers that would be laminated onto the of Xu Gui, dated by epitaph to AD 1161, illustrated by Zhang (ed.)
surface of the vessel. In either case the piece was afterwards covered in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art
with a transparent glaze. Both marbling techniques required Unearthed in China), vol. 5, Shanxi, Beijing, 2008. p. 83, no. 83.
considerable skill on the part of the potter.

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