Page 96 - 2021 March 15th Fine Chinese Paintings and Works of Art, Bonhams NYC New York

PROPERTY FROM A PRIVATE AMERICAN COLLECTION PROPERTY FROM A PRIVATE AMERICAN COLLECTION
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A FINELY-CARVED YAOZHOU CELADON DEEP BOWL A RARE MOLDED QINGBAI OCTOFOIL COSMETIC BOX
Northern Song/Jin Dynasty AND COVER
Of gently rounded shape, the interior carved with a lotus and combed Song Dynasty
feathery foliage below a single incised line toward the rim, the exterior Of lightly lobed circular shape, the cover molded with a dense design
with simple knife-cut cut stylized petals between single incised lines, all of slender scrolling chrysanthemum sprays and stems within an
under an even glaze pooling at areas of the carving and just above the octofoil-lobed medallion that mirrors the vertical molded sides of the
unglazed reddish buff stoneware foot, the base glazed. cover, the rim unglazed, the box similarly lobed, the flat base with
7in (17.8cm) diameter areas of uneven glaze, the interior with three cup-shaped containers
divided by a leafy lotus stems spreading out from a central seed pod.
$4,000 - 6,000 5 1/2in (14cm) diameter

北宋/金 耀州窑青釉刻花盌 $1,800 - 2,500

For other Yaozhou bowls of similar type, see Priestley & Ferraro 宋 影青刻花粉盒
Chinese Art, Kilns & Conquerors, London, 2001, no.14; the same
firm, Chinese and Korean Ceramics and Works of Art, London, 2019, A Qingbai cosmetic box of similar form was excavated in 1994 at Tiling
no. 12; and Yutaka Mino and Kathrine R. Tsiang, Ice and Green village, Yuexi county, Anqing city, Anhui provence and is illustrated
Clouds, Traditions of Chinese Celadon, Indianapolis Museum of Art, by Zhang (ed.) in Zhongguo chutu ciqi quanji (8) Anhui (Complete
1986, pp.156-157, no. 60. Collection of Ceramic Art Unearthed in China, Vol. 8, Anhui), Beijing,
2008, p. 107, no. 107. For another example of this unusual type in the
For another example see Sotheby’s, New York, 22 September 2020, Joslyn Art Museum, Omaha, Nebraska see the website, www.joslyn.
lot 705. org, inv. 2004.4a-b, dated to the early fourteenth century, where it
is noted that women of status used such cosmetic boxes with lotus
flower interiors (a Buddhist symbol of purity) and that the containers
within held face powders made of rice flour and calcium.

Other examples are illustrated in Transactions of the Oriental Ceramic
Society, 1969-70/1970-71, London, 1972, in an edition for the
exhibition ‘The Ceramic Art of China’, organised by the Arts Council
of Great Britain and The Oriental Ceramic Society at the Victoria and
Albert Museum, 9th June-25th July, 1971, no. 124, pl. 85; and J.J.
Lally, Oriental Art, Song Dynasty Ceramics, The Ronald W. Longsdorf
Collection, New York, March-April, 2013, no. 20.

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