This Tianhuang Stone has the features of
natural Tianhuang Stones such as the texture of radish grain, red-blood-vessel
pattern, crack pattern, transparency, dense, smooth, and delicate feeling by
hand-touch, glossy and glassy luster. To have crack pattern, and the texture of
radish grain is the essential two elements to form a natural Tianhuang Stone.
價格：NT$
新台幣 9 億元。
Price : US$ 30,000,000 dollars.
It's rather cheap in the world sculpture art
market, if compared with the realized auction price
US $71,187,500 of the CONSTANTIN BRÂNCUȘI, LA JEUNE FILLE SOPHISTIQUÉE
(PORTRAIT DE NANCY CUNARD), 1932 by the CHRISTIE’S NEW YORK, MAY 15, 2018.
它在世界上之雕刻品藝術市場算是相當地便宜，假如將之比較於
2018 年 5 月 15 日在紐約佳士得國際拍賣公司拍賣世界知名雕刻大師康斯坦丁布朗庫西 CONSTANTIN BRÂNCUȘI 1932 年之作品南西康奈德的肖像雕塑品 LA JEUNE FILLE SOPHISTIQUÉE (PORTRAIT DE
NANCY CUNARD) 拍賣成交價為美金7千1百1十8萬7千5百美元 ( US $71,187,500 新台幣約 21 億元 )。
介紹影片
Videos of Introduction:
(1) 清朝田黃石雕瑞虎獸王鈕方印 1182 公克 g A Tianhuang Stone Carved ‘An Auspicious
Tiger Beast King’ Decorated Square Seal Carving Qing Dynasty
Golden color Tianhuang Stone carved artifacts are so expensive
because they're just like golden works of art. They were the favorite of
Emperor Qianlong Qing dynasty.
A Golden color Tianhuang Stone Carved "Mother Dragon
teaching her Son Dragon" Decorated Square Seal Carving
尺寸 Size: 高 H 9.3 x 寬 W 3.4 x 深 Depth 3.3 公分厘米 cm
重量 Weight: 210 公克 grams
Right Photo 右方圖:
(香港蘇富比拍賣 Sotheby 's Hong Kong)
明十七世紀田黃石雕瑞獅紙鎮（200 公克 g）
成交時間：2006年10月7日
拍賣機構：香港蘇富比拍賣有限公司
拍賣場次：明粹典傳—明代御製瓷器工藝品專場
A Golden color Tianhuang Stone Carved "An Auspicious
Lion" Decorated Paperweight Carving in 17th century Ming dynasty
'The royal ceramic works of art Ming dynasty' Auction by Sotheby's
Hong Kong on October 7th, 2006.
重量 Weight: 200 公克 grams
拍賣成交價格：4,089.28 萬元
Auction price realized: US$ 1.36 million dollars.
…
Left Photo 左方圖:
黃金黃色田黃石雕瑞獸鈕方印 228 公克 g
A Golden color Tianhuang Stone Carved ‘An Auspicious
Beast’ Decorated Square Seal Carving
尺寸 Size: 高 H 6 x 寬 W 4.1 x 深 Depth 4.1 公分厘米 cm
重量Weight: 228 公克 grams
Right Photo 右方圖:
(香港蘇富比拍賣 Sotheby 's Hong Kong)
明十七世紀田黃石雕瑞獅紙鎮（200 公克 g）
成交時間：2006年10月7日
拍賣機構：香港蘇富比拍賣有限公司
拍賣場次：明粹典傳—明代御製瓷器工藝品專場
A Golden color Tianhuang Stone Carved "An Auspicious
Lion" Decorated Paperweight Carving in 17th century Ming dynasty
'The royal ceramic works of art Ming dynasty' Auction by Sotheby's
Hong Kong on October 7th, 2006.
重量 Weight: 200 公克 grams
拍賣成交價格：4,089.28 萬元
Auction price realized: US$ 1.36 million dollars.
…
Left Photo 左方圖:
黃金黃色田黃石雕瑞獸鈕方印 228 公克 g
A Golden color Tianhuang Stone Carved ‘An Auspicious
Beast’ Decorated Square Seal Carving
尺寸 Size: 高 H 6 x 寬 W 4.1 x 深 Depth 4.1 公分厘米 cm
重量Weight: 228 公克 grams
Right Photo 右方圖:
(中國嘉德國際拍賣China Guardian Auctions)
黃金黃田黃石太獅少獅鈕方章（80公克 g）
成交時間：2013年11月19日
拍賣機構：中國嘉德國際拍賣有限公司
拍賣場次：华郦馆藏国石臻品
A Golden color Tianhuang Stone Carved "An Old Lion and his Young
Lion" Decorated Square Seal Carving
'The Best National Stone Treasures' Auction by China Guardian
Auctions Co.,Ltd. on November 19th, 2013.
重量 Weight: 80 公克 grams
拍賣成交價格：1,115.5 萬元
Auction price realized: US$ 372,000 dollars.
…
Left Photo 左方圖:
頭帶田黃凍石皮田黃凍石淺浮雕明朝果核微雕技術《二十四孝臥冰求鯉故事》薄意方印
A Tianhuangdong Stone bas-relief, fruit pit micro-carving
technique in Ming dynasty, "One of Twenty-four Filial Piety Legends, the
story of a Child lying on Ice seeking for Carp Fish" Decorated Square Seal
Carving with yellow Tianhuangdong Stone-skin on the top
尺寸 Size: 高 H
7 x 寬 W 2.5 x 深Depth
2.5 公分厘米 cm
重量 Weight: 107 公克 grams
Right Photo 右方圖:
(北京保利國際拍賣China Beijing Poly
International Auction)
清吳昌碩刻來修齊田黃章（239公克 g）
成交時間：2013年6月4日
拍賣機構：北京保利國際拍賣有限公司
拍賣場次：燕闲清赏—翦淞阁文房古器录
A Tianhuang Stone Carved "Lai Xiuqi" Decorated Square
Seal Carving by Wu Changshuo Qing Dynasty
'The Leisured
Appreciation in Beijing – The Stationery Ware of Jian Song Ge Pavilion' Auction by China Beijing Poly International Auction
Co.,Ltd. on June 4th, 2013.
重量 Weight: 239 公克 grams
拍賣成交價格：1,380 萬元
Auction price realized: US$ 460,000 dollars.
頭帶田黃凍石皮田黃凍石淺浮雕明朝果核微雕技術《二十四孝臥冰求鯉故事》薄意方印
A
Tianhuangdong Stone bas-relief, fruit pit micro-carving technique in Ming
dynasty, "One of Twenty-four Filial Piety Legends, the story of a Child
lying on Ice seeking for Carp Fish" Decorated Square Seal Carving with
yellow Tianhuangdong Stone-skin on the top
(1) 田黃凍石淺浮雕核微雕臥冰求鯉薄意方印 A
Tianhuangdong Stone bas-relief, fruit pit micro-carving, "The story of a
Child lying on Ice seeking for Carp Fish" Decorated Square Seal Carving
(2) 田黃凍石淺浮雕核微雕臥冰求鯉薄意方印 A
Tianhuangdong Stone bas-relief, fruit pit micro-carving, "The story of a
Child lying on Ice seeking for Carp Fish" Decorated Square Seal Carving
(3) 田黃凍石淺浮雕核微雕臥冰求鯉薄意方印 A Tianhuangdong Stone bas-relief, fruit pit
micro-carving, "The story of a Child lying on Ice seeking for Carp
Fish" Decorated Square Seal Carving
This Tianhuang Stone has the features of
natural Tianhuang Stones such as the texture of radish grain, red-blood-vessel
pattern, crack pattern, transparency, dense, smooth, and delicate feeling by
hand-touch, glossy and glassy luster. To have crack pattern, and the texture of
radish grain is the essential two elements to form a natural Tianhuang Stone.
介紹影片
Videos of Introduction:
(01) 黃金黃色田黃石雕瑞獸鈕方印 228 公克 g A Golden color Tianhuang Stone Carved ‘An
Auspicious Beast’ Decorated Square Seal Carving
Spring-Autumn and Warring-States Period ( 770
B.C. - 221 B.C. ) Twin-Dragons-Twin-Phoenixes 'both Dragon and Phoenix together
bringing auspicious prosperity' Mutton Fat White Jade carved Emperor and Queen
Pendant
尺寸
Size: 直徑 Diameter 7.5 x 高
Height 7.5 x 寬 Width 7.5 x 厚 Depth 0.8 公分厘米
cm
The jade carved Fish Dragon Flower Vase
carving Ming Dynasty (1368-1644) is one of the top ten Jade carved works of art
collected by the National Palace Museum in Taipei. Every piece of these top ten
collectibles is a priceless treasure.
The Longevity secret of Emperor
Qianlong (September 25, 1711 - February 7, 1799, at the age of 88) of the Qing
Dynasty
Extracted from:
《How to
identify Tianhuang Stone? Share the technical secrets of the identification of
the Tianhuang Stone》
One article (2017/05/24 Source: Antique
Appreciation, Trading, and Consultation) as below:
Tianhuang Stone is a unique "soft
gem" in China. Only one piece of farming field, which is less than one
square kilometer in Shoushan, Fujian province, China, has Tianhuang Stone
produced in the world. Because the color of Tianhuang Stone is generally
yellowish and it's produced in the fields, it is called Tian (field)
huang (yellowish) Stone. Its stone material has transparency, dense, smooth, and
delicate feeling by hand-touch, glossy and glassy luster, and it is the first
class product in soft carved stone.
In the Ming and Qing dynasties China,
Tianhuang Stones were all used as tributes to the Imperial Palace, and were
carved into royal seals and artistic ornaments. Therefore, Tianhuang Stone was
revered as the "king of the stone" and "the stone emperor",
so its worth is unparalleled. ......
From the attributes of Tianhuang Stone, all
the artworks that have been carved in Tianhuang Stone can be regarded as
cultural relics, because it can not be copied, it is a non-renewable art.
Tianhuang Stone had a very low output in the past generations. After hundreds
of years of continuous excavation, it has been exhausted so far. The Tianhuang
Stone excavated in the past, which has been passed down to the present, has
become a rare treasure and has entered the collection institutions at China and
abroad. The scattered ones in the folk people are all treasured by collectors.
......
After the Qing Dynasty ruled into the south
area of Great Wall from the northeast near Korea, and finished the Ming
Dynasty, the Qing Dynasty regime was established. In order to consolidate its ruling,
the Qing government suppressed the anti-Qing forces on the one hand and
vigorously restored the economy on the other, and adopted a series of Chinese
culture characterized by the Han culture. Cultural rule measures, using
historical renowned person with a certain cultural foundation, and cultural
products with various cultural backgrounds, are connected with the Heaven and
are organically linked with the royal court ruling Emperor, thus achieving the
goal of ruling the inner hearts of Chinese people.
For example, the story of the Kangxi
Emperor's dream with the historical renowned General Guan Yu's dialogue
sensationalized the whole country, and in the Jiezhou state, Shanxi province,
China, where was the original home state of Guan Yu, Qing government built the
Guandi(Guan Emperor) Temple according to the specifications of the royal
palace, and the Guandi Temple was spread all over the country. This move has
taken advantage of people's advocacy of orthodoxy and has greatly reduced
people's anti-Qing-Dynasty mentality.
Tianhuang Stone made good fortune in the
situation that this political measure was gradually improved, and was honored
as "Stone Emperor" and "Stone King".
The Emperor Qianlong dreamed that the great
Jade Emperor God of the Heaven granted him Tianhuang Stone and gave the book
with three Chinese characters "Fu (Blessing), Shou (Longevity), Tian (Farming
Field)". On the New Year's Day, the story of Tian Huang's sacrifice to the
great Heaven was discussed in the literati's and noble's talks. The Tianhuang
Stone produced by Shoushan in Fujian Province China was used by the Qing
government as the hints, giving "Duo(much) Fu(Blessing) Duo(much)
Shou(Longevity), Wang(King's) Tu(Land) Guang(from East to West) Mau(from North
to South)", means that the Qing' s country territory is given by the
Heaven to preach the national subjects of "the world under the Heaven, the
land of the kingdom, until to the shore of the soil, and all the subjects of
the king.", the ruling consciousness of the dynasty.
Thus the Emperor Qianlong collected a large
number of Tianhuang Stones, and used Tianhuang Stones to carve royal seals. The
famous "San Xi Tang" seal, "Changchun Book House" seal,
together with the "Uniquely fine one" incised white character square
seal, the "Happy Heaven" red character round seal, and the "Qian
Long Chen(Palace) Han(Pen and Literature)" red character square seal, that
these three seals are carved with a piece of Tianhuang Stone, are all Qianlong
Emperor's seals carved in Tianhuang Stones and were all collected in the
Beijing Palace Museum at present.
In this way, the ruling officials and the
folk civilians actually competed with others to buy the seals carved with
Tianhuang Stone, to show off the identity of
the Tianhuang Stone, or to pray for blessing, to pray for longevity, to pray
for farming field (Tian means Land or Business Enterprise) and to collect
Tianhuang Stones or to carve the seals with Tianhuang Stone.
To this end, the price and value of Tianhuang
Stone was then booming up endlessly. There is the poet Zheng Luoying's
"Untitled" poem to confirm that: "The price of that can purchase
whole a city, and this stone's name is called Tian Huang."
......
At that time, the value of Tianhuang Stone
was priced by its weight, equivalent to gold. The so-called "the value of
one weight Tianhuang Stone equals that of the same weight Gold" or
"Several times much more valuable than Gold", "Gold is easy to
get, Tianhuang Stone is hard to find."
By the end of the Qing Dynasty, the price of
ordinary Tianhuang Stone had risen to "three times of gold". Mr. Shi
Shuqing, in the article 《The Tianhuang Stone couple seals of the Qing
Royal King Yiqing》 said: "Tianhuang Stone is produced in
the middle of the field, without stone mineral veins, can be found in natural
blocks. The excavation of the sedimentary stone under the farming field is
extremely difficult, and most of them are accidentally discovered by local
farmers. The winners are regarded as treasures, so they are rare and rare....
Today, Tianhuang Stone is already gone quite
a long time, gold has a price, and Tianhuang Stone can be priceless.” It can be
seen that Tianhuang Stone is extremely difficult to mine, which is the first
reason why Tianhuang Stone is rare.
Moreover, the old Tianhuang Stone Seal of the
collectors I saw by the author has become mostly short in a few centimeters
high. From the handle style of the seal, it is known that the original stone is
high in inches, and most of them are with little carved handle. The seal has
been re-scrubed to be engraved in new self-names' characters again and again,
and after several people's re-carvings, the seal has been turned into a short
"dwarf-seal". If it is re-scrubed again, then it cannot be carved any
longer. It can be seen that many Tianhuang Stone Seals have been disappeared
due to the re-scrubbing, which is the second reason why Tianhuang Stone Seal is
rare.
Tianhuang Stone was produced in the sand
layer at the bottom of the water bank field next to the "Shoushan
River". The total area of the stone-producing land is less than one
square kilometer. It has been dug for more than one hundred years at the end of
the Qing Dynasty. The stone farmer has been digging for several months without
a stone nowadays. Even if the stone farmer found it, and it was also purchased
and shipped abroad by Taiwanese. This is the third reason why Tianhuang Stone
Seal is rare. Its price is no longer in terms of gold. ......
"Today, Tianhuang Stone is gone quite a
long time, gold is valuable, and Tianhuang Stone can be priceless."
......
As a substance in the universe, Tianhuang
Stone has been formed in a special environment for millions of years. Its
quality has undergone certain changes, and its essential features have been
formed. This is the nature of Tianhuang Stone.
This quality is an invisible, non-linear,
high-level material composition that is not observed in modern scientific
instruments. Just like a human body's nerve meridian, it is not detected by any
instrument, and the objective existence of a light guide system is also the
same. ......
However, this high substance can activate on
the movement of the object molecules: "In the cold winter season in
Beijing, the ink is often frozen. If the Tianhuang Stone is placed on it, it
can be thawed immediately.
According to Guo Bocang’s article《The
Record of Unique Products in Fujian Province》, in which it is
written "Tianhuang Stone is formed by the extreme strength of the earth
and the soil, so it is not frozen and has no natural mineral grain in the cold
winter season."
Others said that long-term use of Tianhuang
Stone powder can prolong life." It is precisely because of its high
substance acting on the human body that causes changes in human cells.
The collector of the Tianhuang Stone Carved
‘Landscape and Figure’ Decorated Square Seal Carving with yellow Tianhuang
Stone-skin on the top (1,810 grams) woke up at 2 o'clock in the morning on
November 2, 2018. Suddenly, he felt a headache and had to hold the above huge
Tianhuang Stone by his hands tightly and played it. After half an hour of
playing, the headache was felt completely gone. It was an incredible magical
mystery.
Therefore, the Emperor Qianlong of the Qing
Dynasty particularly preferred Tianhuang Stone, and should have its own special
reasons and be not known to outsiders for the active reasons and royal secrets.
Therefore, the price of this Tianhuang Stone
Carved ‘Landscape and Figure’ Decorated Square Seal Carving with yellow
Tianhuang Stone-skin on the top (1,810 grams) is to be adjusted to NT$ 600
million or US$ 20 million after November 2, 2018.
This Tianhuang Stone has the features of natural Tianhuang Stones such as the texture of radish grain, red-blood-vessel pattern, crack pattern, transparency, dense, smooth, and delicate feeling by hand-touch, glossy and glassy luster. To have Tianhuang Stone-skin, crack pattern, and the texture of radish grain is the essential three elements to form a natural Tianhuang Stone.
This Tianhuang Stone has the features of natural Tianhuang Stones such as the texture of radish grain, red-blood-vessel pattern, crack pattern, transparency, dense, smooth, and delicate feeling by hand-touch, glossy and glassy luster. To have Tianhuang Stone-skin, crack pattern, and the texture of radish grain is the essential three elements to form a natural Tianhuang Stone.
This Tianhuang Stone has the features of natural
Tianhuang Stones such as the texture of radish grain, red-blood-vessel pattern,
crack pattern, transparency, dense, smooth, and delicate feeling by hand-touch,
glossy and glassy luster. To have crack pattern, and the texture of radish
grain is the essential two elements to form a natural Tianhuang Stone.
介紹影片 Videos of Introduction:
(11) 田黃石雕瑞獸鈕方印 (202 g) A Tianhuang Stone Carved ‘An
Auspicious Beast’ Decorated Square Seal Carving
This Tianhuang Stone has the features of natural
Tianhuang Stones such as the texture of radish grain, red-blood-vessel pattern,
crack pattern, transparency, dense, smooth, and delicate feeling by hand-touch,
glossy and glassy luster. To have crack pattern, and the texture of radish
grain is the essential two elements to form a natural Tianhuang Stone.
介紹影片 Videos of Introduction:
(13) 田黃石雕瑞佛彌勒佛鈕方印 (451 g) A
Tianhuang Stone Carved ‘An Auspicious Buddhist God’ Decorated Square Seal
Carving
This Tianhuang Stone has the features of natural
Tianhuang Stones such as the texture of radish grain, red-blood-vessel pattern,
crack pattern, transparency, dense, smooth, and delicate feeling by hand-touch,
glossy and glassy luster. To have crack pattern, and the texture of radish
grain is the essential two elements to form a natural Tianhuang Stone.
介紹影片 Videos of Introduction:
(15) 田黃石雕瑞獸鈕方印 (105 g) A Tianhuang Stone Carved ‘An
Auspicious Beast’ Decorated Square Seal Carving
This Tianhuang Stone has the
features of natural Tianhuang Stones such as the texture of radish grain,
red-blood-vessel pattern, crack pattern, transparency, dense, smooth, and
delicate feeling by hand-touch, glossy and glassy luster. To have Tianhuang Stone-skin,
crack pattern, and the texture of radish grain is the essential three elements
to form a natural Tianhuang Stone.
介紹影片 Videos of Introduction:
(01) 田黃石雕山水人物薄意方印擺件 1810 公克 g A Tianhuang Stone Carved
‘Landscape and Figure’ Decorated Square Seal Carving
This Tianhuang Stone has the
features of natural Tianhuang Stones such as the texture of radish grain,
red-blood-vessel pattern, crack pattern, transparency, dense, smooth, and
delicate feeling by hand-touch, glossy and glassy luster. To have crack
pattern, and the texture of radish grain is the essential two elements to form
a natural Tianhuang Stone.
罕見稀世略帶烏鴉皮白田黃石雕山水薄意方印 672 公克 g
A rare White Tianhuang Stone
Carved "Landscape" Decorated Square Seal Carving with a few
crow-black Tianhuang Stone-skins
This Tianhuang Stone has the features of
natural Tianhuang Stones such as the texture of radish grain, red-blood-vessel
pattern, crack pattern, transparency, dense, smooth, and delicate feeling by
hand-touch, glossy and glassy luster. To have crack pattern, and the texture of
radish grain is the essential two elements to form a natural Tianhuang Stone.
This is a rare White Tianhuang Stone Carved Decorated Square Seal Carving with
a few crow-black Tianhuang Stone-skins in the world.
介紹影片 Videos of Introduction:
罕見稀世略帶烏鴉皮白田黃石雕山水薄意方印 672 公克 g
A rare White Tianhuang Stone Carved
"Landscape" Decorated Square Seal Carving with a few crow-black
Tianhuang Stone-skins
Thirty
pieces of Fine and Rare Chinese Archaic Ceramics
30 件重要又稀少之中國瓷器
(01)01-A Song Celadon
Porcelain Moon-flask with Gold-light-Iron-dark-lines Crackles and
Violet-mouth-Iron-black-foot Design and two Dragon Handles Imperial Palace
Workshop Xuanhe four-character dark-brown seal mark and of the period (1119-1125)
Song dynasty.
Size:
Height 22.2 x Maximum Abdomen Width 16.5 x Top
Mouth Diameter 5.4 x Maximum elliptical Base-stand foot Diameter 8.2 x Minimum
elliptical Base-stand foot Diameter 5.1 cm
Authentication:
(1) Having both gold and black colored crackles
in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in
Song dynasty.
(3) Having black colored foot edge in Song
dynasty.
(4) Having fire-flint dark-red colors at
the foot edge in Song dynasty those should have been generated for hundreds of
years.
(5) Having manually glaze-painting technique
in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(7) Having deeply soaked colored crackles
through the earth in Song dynasty those should have been generated for hundreds
of years.
(02)02-A Song Celadon
Porcelain Vase with Gold-light-Iron-dark-lines Crackles and
Violet-mouth-Iron-black-foot Design and two Pipe-like Handles Imperial Palace
Workshop one-character dark-brown official seal mark Song dynasty (960-1279).
Size:
Height 26 x Maximum Abdomen Diameter 15 x Maximum
Top Mouth Diameter 10.1 x Maximum elliptical Base-stand foot Diameter 11.7 x
Minimum elliptical Base-stand foot Diameter 9.9 cm
Authentication:
(1) Having both light-gold-white and black colored
crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in
Song dynasty.
(3) Having black colored foot edge in Song
dynasty.
(4) Having fire-flint dark-red colors at
the foot edge in Song dynasty those should have been generated for hundreds of
years.
(5) Having manually thick-glaze-painting
technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(7) Having deeply soaked colored crackles
through the earth in Song dynasty those should have been generated for hundreds
of years.
(8) A similar same-period object has been
collected in the Taipei National Palace Museum with museum number
NPM-Porcelain-014022-N000000000 Imperial Palace Workshop Southern-Song dynasty
(1127-1279) Size: Height 26.6 x Maximum Top Mouth Diameter 11 cm.
(03)03-A Song Celadon
Porcelain Six-petaled Lotus Vase with Gold-light-Iron-dark-lines Crackles and
Violet-mouth-Iron-black-foot Design Imperial Palace Workshop one-character
dark-brown official seal mark Song dynasty (960-1279).
Size:
Height 22 x Maximum Abdomen Diameter 12 x Maximum
Top Mouth Diameter 9.6 x Maximum Six-petaled Lotus round Base-stand foot Diameter
7.2 cm
Authentication:
(1) Having both light-gold-white and black colored
crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in
Song dynasty.
(3) Having black colored foot edge in Song
dynasty.
(4) Having fire-flint dark-red colors at
the foot edge in Song dynasty those should have been generated for hundreds of
years.
(5) Having manually thick-glaze-painting
technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(7) Having deeply soaked colored crackles
through the earth in Song dynasty those should have been generated for hundreds
of years.
(04)04-A Song Ru Kiln
Sky-blue-glazed Porcelain Bottle with two Ears and Plate Mouth Northern-Song
dynasty (960-1127).
Size:
Height 21.3 x Maximum Abdomen Diameter 9 x Top
Mouth Diameter 6.4 x round Base-stand foot Diameter 7 cm
Authentication:
(1) Having both shrunk-glaze-holes and
fire-flint earth-yellow colors inside them in Song dynasty those should have
been generated for hundreds of years.
(2) Having light-glazed mouth edge in Song
dynasty.
(3) Having five burning-supporting nail-head marks whose shapes
are as small round millets at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors inside
the five burning-supporting
nail-head marks at the outer surface of bottom and
shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those
should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting
technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored
crackles through the earth in Song dynasty those should have been generated for
hundreds of years.
(8) Having dry clay in Song dynasty that
has not been used nowadays.
(05)05-A Song Ru Kiln
Sky-blue-glazed Porcelain Small Dish with Crackles Northern-Song dynasty (960-1127).
Size:
Height 3.1 x Top Mouth Diameter 13.9 x round
Base-stand foot Diameter 9.3 cm
Authentication:
(1) Having the marks of agate being mixed
in the glaze those should have been made in the Ru kiln Song dynasty.
(2) Having light-glazed foot edge in Song
dynasty.
(3) Having three burning-supporting nail-head marks whose shapes
are as small elliptical millets at the outer bottom of the small dish those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors
inside the three burning-supporting
nail-head marks at the outer surface of bottom in the
Ru kiln Song dynasty those should have been generated for hundreds of years.
(5) Having manually glaze-painting
technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow
colored crackles through the earth in Song dynasty those should have been
generated for hundreds of years.
(8) Having dry clay in Song dynasty that
has not been used nowadays.
(9) A similar same-period object has been
collected in the Taipei National Palace Museum with museum number
NPM-Porcelain-009827-N000000000 Imperial Palace Workshop Northern-Song dynasty
(960-1127) Size: Height 3.3 x Top Mouth Diameter 13 x round Base-stand foot Diameter
9 cm.
(06)06-A Song Jun-kiln
Celadon-glazed and Copper-red Porcelain Dish with Crackles Song dynasty (960-1279).
Size:
Height 4 x Top Mouth Diameter 18.6 x round Base-stand
foot Diameter 8.6 cm
Authentication:
(1) Having a copper-red colored mark mixed
in the celadon-glazed surface that should have been made in the Jun kiln Song
dynasty.
(2) Having light-glazed mouth edge in Song
dynasty.
(3) Having manually pulled spiral shapes at the outer wall and bottom
of the dish those should have been made in the Jun kiln
Song dynasty.
(4) Having fire-flint earth-yellow colors at the outer wall and bottom
clay of the dish those should have been generated for
hundreds of years.
(5) Having manually heavy-glaze-painting
technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(7) Having deeply soaked light-colored
crackles through the earth in Song dynasty those should have been generated for
hundreds of years.
(8) Having dry clay in Song dynasty that
has not been used nowadays.
(07)07-A Song Jun-kiln
Celadon-glazed and Copper-red Porcelain Vase with two handles and Crackles Song
dynasty (960-1279).
Size:
Height 18 x Maximum Abdomen Diameter 11 x Top
Mouth Diameter 4.6 x round Base-stand foot Diameter 5.6 cm
Authentication:
(1) Having a copper-red colored mark mixed
in the celadon-glazed surface that should have been made in the Jun kiln Song
dynasty.
(2) Having light-glazed mouth edge in Song
dynasty.
(3) Having manually pulled spiral shapes at the outer wall and bottom
of the vase those should have been made in the Jun kiln
Song dynasty.
(4) Having fire-flint earth-yellow colors at the outer wall and bottom
clay of the vase those should have been generated for
hundreds of years.
(5) Having manually heavy-glaze-painting technique
in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(7) Having deeply soaked light-colored
crackles through the earth in Song dynasty those should have been generated for
hundreds of years.
(8) Having dry clay in Song dynasty that
has not been used nowadays.
(08)08-A Liao Celadon-glazed
Porcelain Leather-bag-flask with Horse-riding Design and crackles (Broken Handle)
Liao dynasty (1031-1218).
Size:
Height 33.3 x Maximum Abdomen Diameter 20 x
Top Mouth Diameter 4.6 x round Base-stand foot Diameter 10.4 cm
Authentication:
(1) Having leather-bag-flask with horse-riding
design that should have been made in the Liao dynasty.
(2) Having both shrunk-glaze-holes and
fire-flint earth-yellow colors inside them in Song/Liao/Yuan dynasty those
should have been generated for hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the flask
those should have been made in the Song/Liao/Yuan
dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the flask and the shrunk-glaze-holes on the porcelain body those should have
been generated for hundreds of years.
(5) Having manually glaze-painting
technique in Song/Liao/Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size at random place in Song/Liao/Yuan dynasty those should have been formed in
the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored
crackles through the earth in Song/Liao/Yuan dynasty those should have been
generated for hundreds of years.
(8) Having dry clay in Song/Liao/Yuan
dynasty that has not been used nowadays.
(09)09-A Yuan Blue and White
Jar with Octagon-mouth Lotus-shaped Cover and Walking Three-claw Dragon Design Yuan
dynasty (1206-1368).
Size:
Height with cover 33 x Height without cover
28 x Maximum Abdomen Diameter 33 x Maximum Top Octagon-Mouth Width 19.7 x Maximum
Bottom Octagon-Base-stand foot Width 21.3 cm
Authentication:
(1) Having a walking three-claw dragon design
that should have been made in the Yuan dynasty.
(2) Having both shrunk-glaze-holes and
fire-flint earth-yellow colors inside them at both outer and inner wall of the
jar as well as the cover in Yuan dynasty those should have been generated for
hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the jar
and the inner wall of the cover those should have been made
in the Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the jar and the shrunk-glaze-holes on the porcelain body those should have
been generated for hundreds of years.
(5) Having manually heavy-glaze-painting
technique in Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those
should have been formed in the ancient wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of
white on the surface in Yuan dynasty that should have
been formed in the ancient wood-burning kiln.
(8) Having dry clay in Yuan dynasty that
has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt
green dyestuff that would have created a natural misty phenomenon under firing with
a flash of silver-white tin light on the heavy-blue-glazed surface and had been
commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The
supply source of imports and its actual origin of the Sumali-smalt green
dyestuff have been unknown in modern times and become untraceable. Its supply could
not be obtained nowadays. The Sumali-smalt green dyestuff consists of low
manganese and high iron ingredients and this will reduce red and purple colors
to be shown. With an appropriate level of firing attainment, a splendid heavy
green and blue color can be burnt out such as the blue gloss of a sapphire with
elegant and solemn color, attractively bright-colored surface, and clear
structure. However the Sumali-smalt green dyestuff consists of high ingredient
of iron element, it will often form some black cobalt material defect-spots to
be left with a flash of silver-white tin light at the heavy-glazed blue firing
parts.
(10)10-A Yuan Blue and White
Under-glaze Red Porcelain Mongolia-dwelling-tent-bowl with cover and Floral
Phoenix Design Yuan dynasty (1206-1368).
Size:
Height with cover 15.5 x Height without
cover 8.5 x Top Mouth Diameter 25 x round Base-stand foot Diameter 17 cm
Authentication:
(1) Having a phoenix totem on the Mongolia-dwelling-tent-shape
cover design that should have been made in the Yuan dynasty.
(2) Having both shrunk-glaze-holes and
fire-flint earth-yellow colors inside them at both outer and inner wall of the bowl
as well as the cover in Yuan dynasty those should have been generated for
hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the bowl
and the inner wall of the cover those should have been made
in the Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the bowl and the shrunk-glaze-holes as well as the unglazed clay on the
porcelain body those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting
technique in Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon both blue and red colors as
bubble-sea in Yuan dynasty those should have been formed in the ancient
wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of
white on the surface in Yuan dynasty that should have
been formed in the ancient wood-burning kiln.
(8) Having dry clay in Yuan dynasty that
has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt
material of Sumali-smalt green dyestuff that would have created a natural misty
phenomenon under firing with a flash of silver-white tin light on the
heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and
the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual
origin of the Sumali-smalt green dyestuff have been unknown in modern times and
become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt
green dyestuff consists of low manganese and high iron ingredients and this
will reduce red and purple colors to be shown. With an appropriate level of firing
attainment, a splendid heavy green and blue color can be burnt out such as the
blue gloss of a sapphire with elegant and solemn color, attractively
bright-colored surface, and clear structure. However the Sumali-smalt green
dyestuff consists of high ingredient of iron element, it will often form some
black cobalt material defect-spots to be left with a flash of silver-white tin
light at the heavy-glazed blue firing parts.
(10) A similar same-period object has been
collected in the State
Hermitage Museum, St. Petersburg, Russia. This object was also lent to be exhibited in Jan. 2013 at the Shanghai
Museum, Shanghai, China.
(11)11-A Xuande Blue and White
and Under-glaze Red Porcelain Moon-flask with Floral and Eight-treasures Design
and two Handles Imperial Palace Workshop Xuande period (1426-1435) Ming
dynasty.
Size:
Height 30.5 x Maximum Abdomen Diameter 22 x
Depth 10 x Top Mouth Diameter 5 x rectangular Base-stand foot Length 9.8 x
rectangular Base-stand foot Width 6.8 cm
Authentication:
(1) Having an eight-treasure design that
should have been made in the Yuan/early-Ming dynasty.
(2) Having shrunk-glaze-holes at the outer
wall of the flask in Ming dynasty.
(3) Having the hyper-thick-glaze surface of Xuande blue and
white porcelain that is usually not very flat, like orange peel.
(4) Having fire-flint earth-yellow colors at the bottom foot clay those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting
technique in Ming dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon both blue and red colors as
bubble-sea in Ming dynasty those should have been formed in the ancient
wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of
white on the surface in Ming dynasty that should have
been formed in the ancient wood-burning kiln.
(8) Having little black defect-spots formed by the cobalt
material of Sumali-smalt green dyestuff that would have created a natural misty
phenomenon under firing with a flash of silver-white tin light on the
heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and
the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual
origin of the Sumali-smalt green dyestuff have been unknown in modern times and
become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt
green dyestuff consists of low manganese and high iron ingredients and this
will reduce red and purple colors to be shown. With an appropriate level of
firing attainment, a splendid heavy green and blue color can be burnt out such
as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored
surface, and clear structure. However the Sumali-smalt green dyestuff consists
of high ingredient of iron element, it will often form some black cobalt
material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed
blue firing parts.
(12)12-A Xuande Blue and White
Bottle Gourd Porcelain Vase with Floral Design Imperial Palace Workshop Xuande six-character
blue seal mark and of the period (1426-1435) Ming dynasty.
Size:
Height 34 x Maximum Abdomen Diameter 18 x Top
Mouth Diameter 3.5 x round Base-stand foot Diameter 11 cm
Authentication:
(1) Having a bottle gourd design that
should have been made in the Yuan/early-Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and
white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-grey colors at the bottom foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting
technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon both blue and white colors as
bubble-sea in Ming dynasty those should have been formed in the ancient
wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of
white on the surface in Ming dynasty that should have
been formed in the ancient wood-burning kiln.
(7) Having manually pulled spiral shapes at the bottom of the vase
and the inner wall of the mouth those should have been made
in the Yuan/Ming dynasty.
(8) Having dry clay in Yuan/Ming dynasty
that has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt
material of Sumali-smalt green dyestuff that would have created a natural misty
phenomenon under firing with a flash of silver-white tin light on the
heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and
the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual
origin of the Sumali-smalt green dyestuff have been unknown in modern times and
become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt
green dyestuff consists of low manganese and high iron ingredients and this
will reduce red and purple colors to be shown. With an appropriate level of
firing attainment, a splendid heavy green and blue color can be burnt out such
as the blue gloss of a sapphire with elegant and solemn color, attractively
bright-colored surface, and clear structure. However the Sumali-smalt green
dyestuff consists of high ingredient of iron element, it will often form some
black cobalt material defect-spots to be left with a flash of silver-white tin
light at the heavy-glazed blue firing parts.
(13)13-A Xuande Blue and White
Porcelain Bowl with Walking Five-claw Dragon Design Imperial Palace Workshop Xuande
six-character blue seal mark and of the period (1426-1435) Ming dynasty.
Size:
Height 10.8 x Top Mouth Diameter 21.8 x round
Base-stand foot Diameter 8.6 cm
Authentication:
(1) Having a walking five-claw dragon design
that should have been made in the Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and
white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting
technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size
everywhere at the glaze painted body upon both blue and white colors as
bubble-sea in Ming dynasty those should have been formed in the ancient
wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of
white on the surface in Ming dynasty that should have
been formed in the ancient wood-burning kiln.
(7) Having little black defect-spots formed by the cobalt
material of Sumali-smalt green dyestuff that would have created a natural misty
phenomenon under firing with a flash of silver-white tin light on the
heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and
the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual
origin of the Sumali-smalt green dyestuff have been unknown in modern times and
become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt
green dyestuff consists of low manganese and high iron ingredients and this
will reduce red and purple colors to be shown. With an appropriate level of
firing attainment, a splendid heavy green and blue color can be burnt out such
as the blue gloss of a sapphire with elegant and solemn color, attractively
bright-colored surface, and clear structure. However the Sumali-smalt green
dyestuff consists of high ingredient of iron element, it will often form some
black cobalt material defect-spots to be left with a flash of silver-white tin
light at the heavy-glazed blue firing parts.
(14)14-A Xuande Blue and White
Porcelain Stemcup with Pine Bamboo and Plum Design Imperial Palace Workshop Xuande
six-character blue seal mark and of the period (1426-1435) Ming dynasty.
Size:
Height 10.4 x Maximum Abdomen Diameter 8 x Top
Mouth Diameter 11.2 x round Base-stand foot Diameter 5.2 cm
Authentication:
(1) Having a stem-cup design that should
have been made in the Yuan/Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and
white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting
technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon both blue and white colors as
bubble-sea in Ming dynasty those should have been formed in the ancient
wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of
white on the surface in Ming dynasty that should have
been formed in the ancient wood-burning kiln.
(7) Having ivory-yellow colored clay that
has been exhausted and not been used nowadays.
(8) Having little black defect-spots formed by the cobalt
material of Sumali-smalt green dyestuff that would have created a natural misty
phenomenon under firing with a flash of silver-white tin light on the
heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and
the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual
origin of the Sumali-smalt green dyestuff have been unknown in modern times and
become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt
green dyestuff consists of low manganese and high iron ingredients and this
will reduce red and purple colors to be shown. With an appropriate level of
firing attainment, a splendid heavy green and blue color can be burnt out such
as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored
surface, and clear structure. However the Sumali-smalt green dyestuff consists
of high ingredient of iron element, it will often form some black cobalt
material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed
blue firing parts.
(15)15-A Chenghua Doucai Red
Porcelain Cup with Double Phoenixes Design and Crackles Imperial Palace
Workshop Chenghua six-character blue seal mark and of the period (1465-1487) Ming
dynasty.
Size:
Height 5.5 x Top Mouth Diameter 9 x round Base-stand
foot Diameter 4 cm
Authentication:
(1) Having a Doucai phoenix design that
should have been made in the Chenghua period Ming dynasty.
(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting
technique in Ming dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon both blue and white colors as
bubble-sea in Ming dynasty those should have been formed in the ancient
wood-burning kiln.
(5) Having crackles on green and yellow
colored portion those should have been formed for hundreds of years.
(6) Having both red and ivory-yellow
colored clay that has been exhausted and not been used nowadays.
(16)16-A Kangxi Famille Verte
(Wucai) Porcelain Vase with Dragon and Phoenix Design Imperial Palace Workshop Kangxi
six-character blue seal mark and of the period (1662-1722) Qing dynasty.
Size:
Height 43 x Maximum Abdomen Diameter 20 x Top
Mouth Diameter 16.2 x round Base-stand foot Diameter 14 cm
Authentication:
(1) Having a famille verte (Wucai) dragon
and phoenix design that should have been made in the Kangxi period Qing
dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting
technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon blue, red and white colors as
bubble-sea in the Kangxi period Qing dynasty those should have been formed in
the ancient wood-burning kiln.
(5) Having crackles on green and yellow
colored portion those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase
those should have been made in the Yuan/Ming/early-Qing
dynasty.
(17)17-A Yongzheng Enameled in
the Famille Rose palette Porcelain Vase with Floral and Butterflies Design Imperial
Palace Workshop Yongzheng six-character blue seal mark and of the period (1723-1735)
Qing dynasty.
Size:
Height 41 x Maximum Abdomen Diameter 22 x Top
Mouth Diameter 10.8 x round Base-stand foot Diameter 13.3 cm
Authentication:
(1) Having an Enameled in the Famille Rose
palette Floral and Butterflies Design that should have been made in the Yongzheng/Qianlong
period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting
technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon white and red colors as
bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been
formed in the ancient wood-burning kiln.
(5) Having crackles on green, yellow and
milky-white colored portion those should have been formed for hundreds of
years.
(6) Having manually pulled spiral shapes at the inner wall of the vase
those should have been made in the Yongzheng/Qianlong
dynasty.
(7) Having the
inner-shell-of-bivalve-reflecting clam-light on milky-white colored Famille
Rose palette that should have been formed for hundreds of years.
(18)18-A Yongzheng Enameled Eggshell
Porcelain Vase with Western Family and a Villa Garden Design Imperial Palace
Workshop Yongzheng four-character blue seal mark and of the period (1723-1735)
Qing dynasty.
Size:
Height 23.5 x Maximum Abdomen Diameter 11 x
Top Mouth Diameter 7.6 x round Base-stand foot Diameter 6.2 cm
Authentication:
(1) Having an enameled western Family and a
villa garden together with fine and delicate painting, calligraphy, three red
leisure seals, and poem Design that should have been made in the
Yongzheng/Qianlong period Qing dynasty.
(2) Having an eggshell
manual-body-construction technique that has not been done successfully
nowadays.
(3) Having manually glaze-painting
technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon white and golden surfaces
together with sky-green base as bubble-sea in the Yongzheng/Qianlong period
Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on sky-green colors at
outer-base, inner wall at the top mouth, and floral decorations at top, neck
and bottom, yellow flower at garden, green leaves at the hat on head of the man
those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase
those should have been made in the Yongzheng/Qianlong
dynasty.
(7) Having ivory-yellow colored clay that
has been exhausted and not been used nowadays.
(19)19-A Qianlong Enameled
Porcelain Vase with Flowers and Birds Peacock and Peahen Design Imperial Palace
Workshop Qianlong six-character blue seal mark and of the period (1736-1795)
Qing dynasty.
Size:
Height 32.5 x Maximum Abdomen Diameter 20 x
Top Mouth Diameter 6.3 x round Base-stand foot Diameter 10.1 cm
Authentication:
(1) Having an enameled flowers and birds peacock
and peahen together with fine and delicate painting, calligraphy, three red
leisure seals, and poem Design that should have been made in the
Yongzheng/Qianlong period Qing dynasty.
(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting
technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon white surface and green color at
peacock tail feathers as bubble-sea in the Yongzheng/Qianlong period Qing
dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green colored leaves
and yellow cheek of peacock head those should have been formed for hundreds of
years.
(6) Having ivory-yellow colored clay that
has been exhausted and not been used nowadays.
(7) An enameled porcelain bowl with similar
peacock design has been collected in the Taipei National Palace Museum with
museum number NPM-Porcelain-013983-N000000000 Imperial Palace Workshop Yongzheng
four-character blue seal mark and of the period (1723-1735) Qing dynasty Size:
Height 15.2 cm. This bowl was lent to be exhibited in the Tokyo National Museum
Japan from 2014/6/24 to 2014/9/15 and the Kyushu National Museum Japan from
2014/10/7 to 2014/11/30.
(20)20-A Qianlong Enameled
Porcelain Bowl with Yellow Ground Four Windows Western Figures and
Red-decorated Landscape Design Imperial Palace Workshop Qianlong four-character
blue seal mark and of the period (1736-1795) Qing dynasty.
Size:
Height 6.8 x Top Mouth Diameter 15.1 x round
Base-stand foot Diameter 6.7 cm
Authentication:
(1) Having an enameled yellow ground, four windows,
western figures and red-decorated landscape Design that should have been made in
the Qianlong period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting
technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon white and red colors as
bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been
formed in the ancient wood-burning kiln.
(5) Having crackles on yellow, blue, sky-blue
ground at the outer wall, sky-green ground at the inner wall and outer bottom
of bowl those should have been formed for hundreds of years.
(6) Having ivory-yellow colored clay that
has been exhausted and not been used nowadays.
(21)21-A Northern Song Ding
Kiln White ground Wucai Porcelain Lotus-mouth shaped Vase with carved and gilt
Playing Children by Butterfly and Flowers Design and two Elephant-trunk Handles
(two cracks in the neck) Imperial Palace Workshop two-character “Yi Ding”
carved and gilt seal mark Northern Song (960-1127) dynasty.
Size:
Height 28.5 x Maximum Abdomen Width 14 x Maximum
Top Mouth Length 7.2 x Minimum Top Mouth Width 6.3 x round Base-stand foot Diameter
7.7 cm
Authentication:
(1) Having both glazed teardrops, and
bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding
Kiln in Northern Song dynasty those are not made by the modern techniques.
(2) Having two-character “Yi Ding” carved
and gilt seal mark by Ding Kiln in Northern Song dynasty that is not made by
the modern technique.
(3) Having sixteen-character “Lotus giving
birth to its Lotus Flower, Lotus planting in the River and giving birth to its Lotus
Blossoms, Dedicating with it at the center of the River to the Buddha!” carved
and gilt imperial Buddhist blessing inscription for the Buddha by Ding Kiln in
Northern Song dynasty that is not made by the modern technique.
(4) Having fire-flint earth-yellow colors
at the foot edge in Northern Song dynasty those should have been generated for
hundreds of years.
(5) Having manually glaze-painting
technique in Northern Song dynasty that has not been used nowadays.
(6) Having deeply earth-water-soaked
colored spots all-over the surface of the vase by Ding Kiln in Northern Song
dynasty those should have been generated for hundreds of years.
(22)22-A Yongle Blue and White
quadruped Water-dropper with Flowers and Phoenixes on Sea Waves Design and Sea
Ship Shape Imperial Palace Workshop Yongle four-character carved seal mark and
of the period (1403-1424) Ming dynasty.
Size:
Height 20 x Length 22 x Width 11 x quadruped
Base-stand foot Length 12 x quadruped Base-stand foot Width 5 cm
Authentication:
(1) Having Flowers and Phoenixes on Sea
Waves Design and Sea Ship Shape those should have been made in the Yongle
period Ming dynasty during the great sea adventures by Zheng Ho (1371-1435) who
was a powerful imperial eunuch of the Emperor Yongle and was commanded to sail
for seven expeditions as far as the east coast of Africa and seashores of Red
Sea with a large imperial fleet from 1405 to 1433.
(2) Having fire-flint red colors at the bottom clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting
technique in Ming dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon both blue and red colors as
bubble-sea in Ming dynasty those should have been formed in the ancient
wood-burning kiln.
(5) Having a pale greenish lake-water-like tinge out of
white on the surface in Ming dynasty that should have
been formed in the ancient wood-burning kiln.
(6) Having little black defect-spots formed by the cobalt
material of Sumali-smalt green dyestuff that would have created a natural misty
phenomenon under firing with a flash of silver-white tin light on the
heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and
the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual
origin of the Sumali-smalt green dyestuff have been unknown in modern times and
become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt
green dyestuff consists of low manganese and high iron ingredients and this
will reduce red and purple colors to be shown. With an appropriate level of
firing attainment, a splendid heavy green and blue color can be burnt out such
as the blue gloss of a sapphire with elegant and solemn color, attractively
bright-colored surface, and clear structure. However the Sumali-smalt green
dyestuff consists of high ingredient of iron element, it will often form some
black cobalt material defect-spots to be left with a flash of silver-white tin
light at the heavy-glazed blue firing parts.
(7)
Having Yongle four-character carved seal mark at the
bottom clay that is not made by the modern technique.
(23)23-A Tang Sancai Pottery Vase
with four Dragon-heads, four Plum Blossoms, four Rings, twisted Ropes Design
and very fine crackles together with the
inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).
Size:
Height 27 x Maximum Abdomen Diameter 26.5 x
round Base-stand foot Diameter 11.8 cm
Authentication:
(1) Having both glazed teardrops, and
manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang
dynasty those are not made by the modern techniques.
(2) Having burned-out remains of stepping-earth
at the foot bottom by Tang Sancai Kiln in Tang dynasty those are not made by
the modern techniques.
(3) Having manually glaze-painting
technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.
(4) Having very fine spider’s-web-crackles with
white dots all-over the glazed surface of the vase those should have been
generated for hundreds of years.
(5) Having fine and tiny black sands
all-over the surface of the pottery body by Tang Sancai Kiln in Tang dynasty
those are not refined by the modern clay-washing technique.
(6) Having the inner-shell-of-bivalve-reflecting clam-light
at some surface of the glaze by Tang Sancai Kiln in
Tang dynasty that should have been generated for hundreds of years.
(24)24- A Tang Yue Kiln
Celadon-glazed Bottle Gourd Porcelain Vase with two Handles and very fine crackles Tang Dynasty (618-907).
Size:
Height 21.5 x Maximum Abdomen Diameter 11.5
x round Base-stand foot Diameter 6.7 cm
Authentication:
(1) Having manually glaze-painting
technique in Tang dynasty that has not been used nowadays.
(2) Having thin-and-light-celadon-glazed surface
by Yue Kiln in Tang dynasty.
(3) Having five burning-supporting nail-head marks whose shapes
are as slim pine seeds at the outer bottom of the vase those should have been made by the Yue Kiln in Tang dynasty.
(4) Having under-glaze bubbles of random
size at random place by the Yue Kiln in Tang dynasty those should have been
formed in the ancient wood-burning kiln.
(5) Having dry grey-white clay in Tang
dynasty that has not been used nowadays.
(6) Having wide-opened ditch-shaped
crackles all-over the celadon-glazed surface of the vase those should have been
generated for hundreds of years.
(7) Having fine and tiny black sands
all-over the surface of the body clay by the Yue Kiln in Tang dynasty those are
not refined by the modern clay-washing technique.
(25)25-A Northern Song Ding
Kiln White Porcelain Meiping Vase with carved Flowers Design and crackles Imperial
Palace Workshop two-character “Yi Ding” carved seal mark Northern Song (960-1127)
dynasty.
Size:
Height 28.5 x Maximum Abdomen Width 15 x Top
Mouth Diameter 3.7 x round Base-stand foot Diameter 8.4 cm
Authentication:
(1) Having both glazed teardrops, and
bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding
Kiln in Northern Song dynasty those are not made by the modern techniques.
(2) Having two-character “Yi Ding” carved
seal mark by Ding Kiln in Northern Song dynasty that is not made by the modern
technique.
(3) Having fire-flint grey-white colors at
the foot edge in Northern Song dynasty those should have been generated for
hundreds of years.
(4) Having manually glaze-painting
technique in Northern Song dynasty that has not been used nowadays.
(5) Having fine ice-crackles all-over the white
glazed surface of the vase those should have been generated for hundreds of
years.
(6) Having fine and tiny black sands
all-over the surface of the porcelain body by Ding Kiln in Northern Song
dynasty those are not refined by the modern clay-washing technique.
(7) Having milky-white color of the white
glaze by Ding Kiln in Northern Song dynasty that is not the pure white color of
the white glaze used by the modern technique.
(26)26-A Tang Sancai Pottery
Dish with four Fishes, four Blossoms, eight Lotus Petal-rim Design and very fine crackles together with the inner-shell-of-bivalve-reflecting
clam-light Tang Dynasty (618-907).
Size:
Height 3.4 x Diameter 18 x round Base-stand
foot Diameter 5.5 cm
Authentication:
(1) Having both glazed teardrops, and
manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang
dynasty those are not made by the modern techniques.
(2) Having three burning-supporting nail-head marks whose shapes
are as small round rice at the outer bottom of the dish that has the same 3.9 cm distance between each burning-supporting nail-head mark as the three burning-supporting nail-head model in the Tang
Sancai kiln unearthed at the Huang Ye Kiln in Gong YI City Henan Province China
those are not made by the modern techniques.
(3) Having white color pottery at the three
burning-supporting
nail-head marks that is not used by the modern
porcelain clay material.
(4) Having manually glaze-painting
technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.
(5) Having very fine spider’s-web-crackles
with white and dark dots all-over the glazed surface of the dish those should
have been generated for hundreds of years.
(6) Having fine and tiny dark sands all-over
the surface of the pottery body by Tang Sancai Kiln in Tang dynasty those are
not refined by the modern clay-washing technique.
(7) Having the inner-shell-of-bivalve-reflecting clam-light
at some surface of the glaze by Tang Sancai Kiln in
Tang dynasty that should have been generated for hundreds of years.
(8) There are several similar Tang Sancai Pottery Dishes collected by the
Musée Guimet in Paris France and the
Metropolitan museun of Art in New York U.S.A.
(27)27-A Song Celadon
Porcelain Guan-type “Touhu (An ancient game-pot to be thrown into arrows)” Vase
with Hexagonal body, two Hexagonal tubular lug handles by the mouth and a tall
neck, Gold-light-Iron-dark-lines Crackles and Iron-black-foot Design Imperial
Palace Workshop Xining Fourth Year four-character carved seal mark and of the year
(A.D. 1071) Emperor Shenzong Northern Song dynasty together with the
inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739).
Size:
Height 20.2 x Maximum Abdomen Width 13.2 x Maximum
Top Hexagonal Mouth Diameter 5.8 x Maximum Hexagonal Base-stand foot Diameter 9.1
cm
Carved
Inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739):
(1)In the summer of Great Qing
Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial
appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics
Museum of Beijing Palace Museum on July 15th, 2008), with “Qian
Style” two-character carved seal mark.
(2)Xining Fourth Year
four-character carved seal mark and of the year (A.D. 1071 Emperor Shenzong
Northern Song dynasty).
Authentication:
(1) Having both Gold-light-lines and Iron-dark-lines
Crackles in Song dynasty those have not been successfully made nowadays.
(2) Having Iron-black colored foot edge in
Song dynasty.
(3) Having fire-flint earth-yellow colors
at the foot rim in Song dynasty those should have been generated for hundreds
of years.
(4) Having manually glaze-painting
technique in Song dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random
size at random place in Song dynasty those should have been formed in the
ancient wood-burning kiln.
(6) Having deeply soaked colored crackles
through the earth in Song dynasty those should have been generated for hundreds
of years.
(7) Having dark-black colored clay in Song
dynasty at the carved inscription area that is not used by the modern porcelain
clay material.
(8) Having fine and tiny dark sands
all-over the surface of the body clay in Song dynasty those are not refined by
the modern clay-washing technique.
(9) Having sky-green colored celadon glaze
in Song dynasty that has not been used nowadays.
(10) Emperor Qianlong Qing dynasty ordered
to carve the “Xining Fourth Year” four-character seal mark and of the year (A.D.
1071 Emperor Shenzong Northern Song dynasty) on the surface of the vase and
this seal mark has officially proved its age of creation.
(11) Emperor Qianlong Qing dynasty ordered
to carve the “In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year),
this was set to be the imperial appreciation treasure at Palace Wen Hua (this
Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15th,
2008)”, together with “Qian Style” two-character carved seal mark on the
surface of the vase and this inscription has officially proved its valuable
treasure-like authenticity.
(12) The carvings of inscription on the
surface of the vase by Emperor Qianlong Qing dynasty were made artificially and
evenly to be spread upon curved and arched skin glaze of the vase manually with
ancient Jade-carving techniques those have not been used nowadays.
(13) The carvings of inscription on the
surface of the vase by Emperor Qianlong Qing dynasty contained written Manchu
language characters those were historically matched the inscription style of Emperor
Qianlong in early Qianlong period upon his favorite Chinese fine and rare paintings
and ceramics. In middle and end Qianlong period, his inscription style became
all written Chinese language characters without any written Manchu language
character. Historically being a Manchu Emperor of Chinese people, he had been
assimilated by the Chinese culture while appreciating these fine Chinese works
of art.
(14) This Touhu (An ancient game-pot to be
thrown into arrows) vase was for an ancient Chinese game during a feast in
which the winner was decided by the number of arrows thrown into a distant
Touhu pot. A similar same-function celadon Touhu vase has been collected in the
Taipei National Palace Museum with museum number
NPM-Porcelain-003189-N000000000 made by Longquan kiln in Ming dynasty
(1368-1644) Size: Height 33.2 x Top Mouth Diameter 9.2 x round Base-stand foot Diameter
13.4 cm.
(28)28-A Song Ru Kiln
Sky-blue-glazed Porcelain Bottle with two Ears and Hexagonal body “Cai”
one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime
Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer
central surface of the bottle Northern-Song dynasty (960-1127).
Size:
Height 21.3 x Maximum Abdomen Width 9.2 x Maximum
Top Hexagonal Mouth Diameter 6.6 x Maximum Hexagonal Base-stand foot Diameter 6.7
cm
Authentication:
(1) Having both shrunk-glaze-holes and
fire-flint earth-yellow colors inside them in Song dynasty those should have
been generated for hundreds of years.
(2) Having heavier-and-brighter-colored spots
glazed under a different degree those were called Yu Zi (Fish-roe) totems and
were the marks of agate being mixed in the glaze those should have been made in
the Ru kiln Song dynasty.
(3) Having five burning-supporting nail-head marks whose shapes
are as small elliptical sesames at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors
inside the five burning-supporting
nail-head marks at the outer surface of bottom and
shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those
should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting
technique in Song dynasty that has not been used nowadays.
(6) Having as few under-glaze bubbles of
random size at random place as the morning stars in Song dynasty those should
have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow
colored crackles through the earth in Song dynasty those should have been
generated for hundreds of years.
(8) Having dry clay in Song dynasty that
has not been used nowadays.
(9) “Cai” one-character carved seal mark
and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor
Huizong Northern Song dynasty) at the bottom outer central surface of the
bottle has officially proved its valuable authenticity. This “Cai”
one-character carved seal mark was done before it was glazed and burned in the
kiln, and should have been made in the Ru kiln Song dynasty.
(10) Having deeply soaked earth-yellow
colored skin of the glazed surface through the earth in Song dynasty that
should have been generated for hundreds of years.
(29)29-A Yuan Luanbai White
glazed Porcelain Ewer Yuan dynasty (1206-1368).
Size:
Height 17.8 x Top Mouth Diameter 6.6 x round
Base-stand foot Diameter 6.2 cm
Authentication:
(1) Having both shrunk-glazed spots at the
outer rim of foot and fire-flint earth-yellow colors at this area together with
the inner wall of the ewer in Yuan dynasty those should have been generated for
hundreds of years.
(2) Having manually pulled spiral shapes at the outer bottom and
the inner wall of the ewer those should have been made in
the Yuan dynasty.
(3) Having fire-flint earth-yellow colors at the bottom clay of the ewer and the shrunk-glazed spots as well as the unglazed clay at the
outer rim of foot and the inner wall of the ewer those should have been
generated for hundreds of years.
(4) Having manually heavy-glaze-painting
technique in Yuan dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size
everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should
have been formed in the ancient wood-burning kiln.
(6) Having a greenish duck-eggshell-like tinge out of white on the surface in Yuan dynasty that should have been formed by the
unique Luanbai white glaze used in Yuan dynasty and burned in the ancient
wood-burning kiln.
(7) Having dry clay in Yuan dynasty that
has not been used nowadays.
(8) Having black burned-out remains of
round stepping-earth at the foot bottom in Yuan dynasty those are not made by
the modern techniques.
(9) Having both glazed teardrops, and
bamboo-silk-brushed manually pulled round circle lines under the glaze in Yuan
dynasty those are not made by the modern techniques.
(30)30-A Kangxi Blue and White
Porcelain Guanyin Vase with Garlic head and Auspicious Clouds together with
Cranes Design Imperial Palace Workshop Kangxi four-character blue seal mark and
of the period (1662-1722) Qing dynasty.
Size:
Height 29.3 x Maximum Abdomen Diameter 11 x
Top Mouth Diameter 7.7 x round Base-stand foot Diameter 8.9 cm
Authentication:
(1) Having fire-flint earth-yellow colors at the foot-rim clay those should have been generated for hundreds of years.
(2) Having manually glaze-painting
technique in Qing dynasty that has not been used nowadays.
(3) Having under-glaze bubbles of random
size everywhere at the glaze painted body upon blue and white colors as
bubble-sea in the Kangxi period Qing dynasty those should have been formed in
the ancient wood-burning kiln.
(4) Having manually pulled spiral shapes at the inner wall of the vase
those should have been made in the early-Qing dynasty.
(5) Having domestic Chinese blue and white
glazed colors used in the early-Qing dynasty those are light-blue and
extra-ordinarily elegant and have not been used nowadays.
(6) Having extremely smooth skin on the
glazed surface of the vase that meets with the critical requirement of fine blue
and white glazed ceramics from the Imperial Palace Workshop in Kangxi period.
29 件重要又稀少之中國瓷器 29 Important and Rare Chinese Ceramics
(01) 清朝雍正御製官窯黃地畫琺瑯彩瓷胎錦雉嘉耦花鳥牡丹圖碗
A Yongzheng Enameled Yellow Ground Colorful Pheasants Devoted Couple Peonies Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty
(02) 清朝乾隆年製官窯黃地畫琺瑯彩瓷胎四面開光西洋人物及紅彩山水圖碗
A Yongzheng Enameled Yellow Ground Four Windows Western Figures and Red-decorated Landscape Porcelain Bowl Imperial Palace Workshop Qianlong period Qing Dynasty
(03) 元朝粉青釉執壺連蓋
A Celadon-glazed Wine Pot with Cover Yuan Dynasty
(04) 大明成化年製官窯鬥彩葡萄紋高足杯
A Chenghua Doucai Grapes Stemcup Ming Dynasty Imperial Palace Workshop Chenghua Period Ming Dynasty
(05) 北宋汝窯青釉雙龍雙羊首印花紋半邊折沿三足洗
A Ru-kiln Celadon-glazed Dual Dragon and Dual Sheep-head Mark Porcelain Tripod Brush Washer with Semicircle-bent-mouth-edge Northern Song Dynasty
(06) 元博陵第款青花龍鳳紋四系扁瓶
A Blue and White Bolingdi Mark Dragon and Phoenix Moonflask with four Handles Yuan Dynasty
(07) 元釉裏紅龍鳳紋四系扁瓶
A Red-underglazed Dragon and Phoenix Moonflask with four Handles Yuan Dynasty
(08) 大明成化年製鬥彩海濤五爪龍紋天字罐
A Chenghua Doucai Sea Waves and Five-Claws Dragon Tianziguan Jar with Cover Chenghua period Ming Dynasty
(09) 明永樂官窯青花內外底龍戲珠紋棱口洗
A Blue and White Five-Claws Dragon playing Dragon-pearl-ball Decalobed Waterpot Imperial Palace Workshop Yongle Period Ming Dynasty
(10) 明永樂年製官窯薄胎青花嬰戲圖大碗
A Blue and White Playing Kids Eggshell Bowl Imperial Palace Workshop Yongle Period Ming Dynasty
(11) 大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗
A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl Wanli Period Ming Dynasty
(12) 明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶
A Rare and Fine Wucai European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty
(13) 清朝雍正年製官窯畫琺瑯彩瓷胎牡丹花鳥圖瓶
A Yongzheng Enameled Peonies Flowers and Birds Porcelain Vase Imperial Palace Workshop Yongzheng period Qing Dynasty
(14) 大明成化年製鬥彩花鳥紋高足杯
A Chenghua Doucai Stemcup
(15) 大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤
A Large Blue and White Fish Algae Lotus Dish Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty
(16) 大明宣德年製官窯青花五爪龍鳳纏枝蓮花卉紋盤
A Blue and White Five-Claws Dragon and Phoenix Lotus Dish Imperial Palace Workshop Xuande Period Ming Dynasty
(17) 大明宣德年製官窯青花團龍鳳紋葵式洗
A Blue and White Five-Claws Dragon and Phoenix Decalobed Waterpot Imperial Palace Workshop Xuande Period Ming Dynasty
(18) 大明成化年製鬥彩雞缸杯
A Chenghua Doucai Chicken Cup
(19) 大清雍正年製官窯畫琺瑯彩瓷胎錦雉嘉耦花鳥牡丹圖碗
A Yongzheng Enameled Colorful Pheasants Devoted Couple Peonies Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty
(20) 清朝雍正年製官窯畫琺瑯彩瓷胎南雁北歸花鳥圖碗
A Yongzheng Enameled Northward-returning Southern Wild Geese Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty
(21) 大明宣德年製青花雙龍蓮紋合碗連蓋
A Blue and White Dual Dragon and Lotus Flower Bowl with Cover Imperial Palace Workshop Xuande Period Ming Dynasty
(22) 北宋汝窯青瓷十瓣蓮花小碗
A Blue Ru-Kiln-Porcelain Ware Ten-Petaled Lotus Small Bowl Northern Song Dynasty
(23) 大明成化年製官窯鬥彩嬰戲杯
A Chenghua Doucai Playing Children Cup Ming Dynasty Imperial Palace Workshop Chenghua Period Ming Dynasty
(24) 大明永樂年製官窯青花纏枝蓮穿花三爪行龍紋天球瓶
A Blue and White Three-Claws Dragon against Lotus-scroll background Hemispherical Bottle Imperial Palace Workshop Yongle Period Ming Dynasty
(25) 元朝霽藍釉地底足內甜白釉刻大元國成吉思汗萬歲萬萬歲內府公用龍紋款三爪白龍紋梅瓶
A Sapphire-blue-glazed Blue Ground Three-Claws White Dragon Meiping Vase with White-glazed Base carved Dragon and mark-inscribed Long Live Long Long Live the Great Yuan Empire Genghis Khan and for imperial public usage only Yuan Dynasty
(26) 大明宣德年製官窯釉裏紅蓮塘魚藻紋棱口洗
A Red-underglazed Lotus Pond Fish Algae Decalobed Waterpot Imperial Palace Workshop Xuande Period Ming Dynasty
(27) 大明成化年製官窯青花薄胎西洋徽章紋碗
A Chenghua Blue and White Western Badge Eggshell Bowl Imperial Palace Workshop Chenghua Period Ming Dynasty
Provenance: The family handed-down ancestral collection of the 20th generation descendant 陳萬承 (Chen wan cheng) from the ancestor 陳秀甫 (Chen xiu fu) who was nominated as military Marshal by Ming Emperor in Hongwu 18th year ( A. D. 1385 ) Ming Dynasty.
A Seabed-unearthed en route the legendary Silk Road from China to Europe via Middle East Sapphire-blue-glazed Blue Ground Flowers Carved Meiping Vase Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty
Size: Height 33.50 cm, Maximum Abdomen Diameter 21 cm, Top Mouth Diameter 4.80 cm, Round Base-stand Foot Diameter 11.00 cm.
A Seabed-unearthed en route from Jingdezhen Zhushan Imperial Palace Workshop supervised by Tangying to Beijing Palace for exclusive Palace usage and for the Emperor’s appreciation Blue and White Flowers and Birds Vase Yongzheng Period (1723 - 1735) Qing Dynasty
Size: Height 45.50 cm, Maximum Abdomen Diameter 19 cm, Top Mouth Diameter 12.50 cm, Round Base-stand Foot Diameter 11.00 cm.
It's a wonderful and magic world. If you could not find treasures in the earth, then you can find them in the sea. A treasure should have been only for the Emperors at Beijing Palace in Great Qing Dynasty or for the Emperors in the Europe or in the Middle East in the 15th century, however it became for the Emperor in the sea.
The Chinese Fine Ceramics hidden in the seabed sludge are completely isolated from the air as if they were placed in a time capsule. So long as their seabed sludge on the surface of ceramic body is scrubbed clean, then to soak them in the fresh water and to wash away the parasitic sea crustacean organism off the surface of porcelain with soft brush, they look brand-new as it were just burnt out of the kiln several hundreds of years ago. The ceramics from the Imperial Palace Workshop were all made firm and rigid. The sea tides and waves are not easily to destroy them in the sea. Therefore, they provide the most accurate information to the proper generation database of parameters such as porcelain, clay, glaze surface, color material, ornamentation, bubbles, construction method, burning method, flint fire-burnt red, crackles, inscription, basement at bottom, inner wall, year,...... etc, and to master these correct historical data is tantamount to have a relevant authentication knowledge to identify true ceramics at the time when they were just burnt good out of the kiln even if modern people are completely unable to return to the past several hundreds of years ago.
10 National Treasures of Orion Hsu Collections and 8 E-Books by Orion Hsu at Google Play
and Google Books
Orion Hsu 的 10 件國寶收藏品及在谷歌游戲商店圖書 Google Play 與谷歌圖書 Google Books 中的 8 本電子書
Mutton
Fat White Jade carved Twin-Dragons-Twin-Phoenixes-Mutton-Head 'Dragon and
Phoenix bringing auspicious prosperity' Emperor and Queen Pendant Spring-Autumn
and Warring-States Period (770B.C.-221B.C.) 春秋戰國羊脂白玉雕雙龍雙鳳羊(祥)頭龍鳳呈祥帝王帝后玉珮(公元前770年∼公元前221年)
Spring-Autumn
and Warring-States Period ( 770 B.C. - 221 B.C. )
Twin-Dragons-Twin-Phoenixes-Mutton-Head 'both Dragon and Phoenix together
bringing auspicious prosperity' Archaic Mutton Fat White Jade carved Emperor
and Queen Pendant 春秋戰國時代 (西元前 770 年∼西元前 221 年) 雙龍雙鳳羊(祥)頭 '龍鳳呈祥' 高古羊脂白玉雕帝王帝后玉珮
Iron-Red-and-Soil
Soakage White Jade carved 'Dragon and Phoenix bringing auspicious prosperity'
Emperor and Queen Pendant Spring-Autumn and Warring-States Period
(770B.C.-221B.C.)
春秋戰國高古鐵紅土沁白玉雕龍鳳呈祥帝王帝后玉珮(公元前770年∼公元前221年)
Spring-Autumn
and Warring-States Period ( 770 B.C. - 221 B.C. ) 'both Dragon and Phoenix
together bringing auspicious prosperity' Archaic Iron-Red-and-Soil Soakage
White Jade carved Emperor and Queen Pendant
A Wucai European Envoy presenting
Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping
Imperial Palace Kiln Zhengtong Period (1436 - 1449) Ming Dynasty
明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶 (1436 - 1449)
A Rare and Fine Wucai European Envoy
presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase
Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449)
Four-character Seal-mark Ming Dynasty
An imperial Zhou ‘National Heir
Apparent Symbol of Royal Authority Ding’ silver embellished bronze Food-storage
Ritual Stem-Dou shaped “Di Si Ding and Nien Heng Zi Ding”, Shang Dynasty 1600
B.C. - 1046 B.C.
