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Orion Art Museum and Gallery
Orion 藝術博物館與藝廊




Artificial Intelligence (AI) for Tomorrow
明日之人工智能智慧

https://youtu.be/xIRHIZSEQJI 


Story Video 看圖說故事影片
5 minutes 5 分鐘








Artificial Intelligence (AI) for Tomorrow

明日之人工智能智慧

https://youtu.be/bvZ05-gglv4 

Story Video 看圖說故事影片
10 minutes 10 分鐘








Artificial Intelligence (AI) and Art for Tomorrow

明日之人工智能智慧與藝術

https://youtu.be/v3MD52OMpr8 


Story Video 看圖說故事影片
19 minutes 19 分鐘









Link to Presentation 展示連結
150 Photos 150 張圖片

To see is to be able to operate well
看完就會完善操作


http://www.authorstream.com/Presentation/orionandhsu0199-3534330-orion-artificial-intelligence-ai-tomorrow/




Change your own fate! Change your own troublesome fate by proper precaution in advance.

In the 22nd century people live with artificial intelligence computer robot that is capable of predicting future fate data

改變您的命運! 事先以適當的預防措施改變你自己的麻煩命運。

22世紀人們與能夠預測未來命運資料的人工智慧電腦機器人一起生活

http://myfatebook.com
http://myfatedata.com
http://myguardianprotector.com




Orion Museum / Orion 博物館








List of Art Collections
藝術收藏品名單




A001-Red Cosmetics on Screen of Golden Outlined Red Lotus by Zhang Daqian in 1940s 張大千1940年代作紅妝步障工筆鈎金紅荷花圖



A002-Dwelling in the Mountain by the Lake Wuting by Zhang Daqian dated 1967 張大千1967年作五亭湖山居潑彩山水圖



A003-The Buddhist Sutra of the Heart of Prajna calligraphy handscroll by Yu Youren in 1953 于右任1953年作般若波羅蜜多心經行草書法手卷



A004-Rain over a Cold Pond splashed color and gold Golden Outlined Red Lotus by Zhang Daqian dated 1980 張大千1980年作寒塘過雨潑彩洒金鈎金紅荷花圖



A005-After the Rising and Warm Green Mountains by Huang Gongwang by Zhang Daqian dated 1947 張大千1947年作擬元代黃公望浮巒暖翠山水圖



A006-Splashed Color Golden Outlined Red Lotus on gold sheet by Zhang Daqian dated 1979 張大千1979年作金箋潑彩描金紅荷花圖



A007-Recalling the Beautiful Scenery of Mountain Huang in China by Zhang Daqian dated 1979 張大千1979年作遙思黃山故景潑彩山水圖



A008-A Bird’s-eye View on Taiwan Cross-Island Road near Herhuan by Zhang Daqian dated 1978 張大千1978年作台灣橫貫公路合歡山鳥瞰金碧潑彩山水圖



A009-Painting the Elder Bintourlu after Technique of Song Dynasty by Zhang Daqian dated 1946 張大千1946年作倣宋人畫賓頭盧尊者像



A010-One Flower in One World White Lotus by Zhang Daqian dated March 1978 張大千1978年3月作一花一世界白荷花圖



A011-The Ten Elder Men in the Legend of China by Qi Baishi dated 1949 齊白石1949年作十全老人神賢圖



A012-Lotus, Double Mandarin Ducks and Love Shrimps by Qi Baishi dated 1951 齊白石1951年作荷花蜻蜓鴛鴦雙蝦佳偶小魚蝌蚪成群多子多孫福滿堂圖



A013-People in Chinese Ancient Historical Poem of Six Dynasties by Xu Beihong dated 1940 徐悲鴻1940年作六朝人詩意圖



A014-Jiufang Gao, People in the Chinese Ancient Historical Poem by Xu Beihong dated 1940 徐悲鴻1940年作九方皋圖



A015-The People Live in Mali Village by Wu Guanzhong dated 1982 吳冠中1982年作馬里村頭人物風景圖



A016-Expressionistic Red Lotus by Wu Guanzhong dated 1990 吳冠中1990年作表現主義紅荷花圖



A017-The Landscape of River Li being Well-known Forever by Li Keran dated 1987 李可染1987年作漓江山水傳千古圖



A018-Court Ladies and the Vase by Lin Fengmian 林風眠作宮女與花瓶圖



A019-Five Naked Ladies by Lin Fengmian 林風眠作五裸女圖



A020-Colorful Birds, Flowers and Plants by Yan Bolong dated 1943 顏伯龍1943年作彩鳥與花草小樹圖



A021-Orchids Bamboos and Rocks by Zheng Banqiao dated 1764 鄭板橋1764年作蘭竹石圖



A022-The Sunshine reflects Misty Light of Mountain by Wang Hui in Qing Dynasty 清王翬作日映嵐光山水圖






B001-Abstract Landscape 抽象山水圖 Oil on canvas 油彩帆布 by A. Rong dated March 1975



B002-Abstract Seascape 抽象海景圖 Oil on canvas 油彩帆布 by A. Rong dated June 1978



B003-Mother and the love Oil on canvas by Giancarlo Pesci of Italy in December 2015






C001-A Wucai European Envoy presenting Tribute to the Sovereign Bottle Vase Tianqiuping Zhengtong Period Ming Dynasty 明正統五彩歐洲使節天朝進貢天球瓶



C002-An After Northern Song Ru Kiln Sky-blue glazed Porcelain Dinosaur-giant-egg-shaped Artifact Kangxi Period Qing Dynasty 清康熙仿北宋汝窯天青藍釉恐龍巨蛋形瓷器擺件



C003-A Tang Lushan Kiln Copper-green glazed varicolored Pottery Chicken-head Jug Tang Dynasty 唐魯山窯銅綠釉窯變花釉陶胎乳丁紋弦紋雞首壺



C004-A Tang Sancai Pottery round Box with Cover Tang Dynasty 唐三彩具極細開片紋及帶蛤蜊光綠地八瓣寶相花紋圓蓋盒



C005-A Silver embellished Bronze carved Ritual Meat Vessel Dou shaped Di Si Ding and Nien Heng Zi Ding Shang dynasty 商周青銅錯銀豆形弟姒鼎及年亨子鼎



C006-A Bronze carved Sword of Emperor Wen with inscription Honorable Heritage from Mother Empress Western Han Dynasty 西漢文帝劉桓寶承妣皇銘文青銅傳承旨意帝王劍



C007-A Bronze carved Ritual Wine Vessel Ewer Livestock GONG Shang Dynasty 商朝特殊不銹有蓋青銅羊角怪獸頭饕餮紋龍虎魚鳥人蛇紋牺觥



C008-A Bronze Hunting Dog gilt with ancient Men Horses and Dogs on hunting painting of Eastern Zhou dynasty to Han dynasty 東周至漢朝青銅錯金遠古人類馬犬狩獵圖紋狩獵犬



C009-A round and flat Tianhuang Stone Pebble with skin Carved Landscape and Figures Decorated Carving with Base 田黃凍帶皮扁圓卵石雕山水人物薄意擺件連座



C010-A White Jade Pig-and-Bird-Winged Dragon Winged Mythical Beast Hongshan Culture China 中國北方紅山文化時期古白玉雕豬鳥翼形龍



C011-A Carved Archaic White Jade Cavalrymen War Horses and Halberds of Middle Sizes Militarism Worship Cong Qin Dynasty 秦古白玉雕騎兵戰馬中戟紋崇武玉琮



C012-A Coincident Carved Archaic Khotan Russet Skin White Jade Sitting Double-humped Camel Han Dynasty 漢朝和闐黑棗皮古白玉巧雕坐姿雙峯駱駝






X001-A White Calcified Baby Dinosaur Fossil named-I have teeth-at somewhere on Earth 地球某處小恐龍化石



X002-A Space Meteorite with a burnt through hole at the wall of cave 1057 grams 具燒穿洞之太空隕石



X003-An Archaic green Jade carved Guanyin Figure 高古碧玉雕觀音菩薩坐像



X004-A Green Purple Red Three-Colored Jadeite carved Auspicious Bat Longevity Fungus Buddhist Hand Qing Dynasty 297 grams 清朝天然緬甸A貨三彩雕翡翠佛手



X005-An Archaic Jade carved Fish Wine Cup 高古玉雕魚形酒杯



X006-A Green Jade Rock carved Underground Terracotta Army 碧玉石塊雕兵馬俑



X007-An Archaic Mutton Fat White Jade carved Dragon Pendant 高古羊脂白玉雕龍形珮



X008-A Yongzheng Enameled Eggshell Porcelain Vase with Western Family and a Villa Garden Design 清朝雍正瓷胎琺瑯彩西方家庭花園薄胎蛋殼瓶



X009-A Qianlong Enameled Porcelain Vase with Flowers and Birds Peacock and Peahen Design 清朝乾隆瓷胎琺瑯彩花鳥孔雀紋瓶



X010-A Kangxi Famille Verte (Wucai) Porcelain Vase with Dragon and Phoenix Design 清朝康熙瓷胎五彩龍鳳紋瓶



X011-A Dinosaur Fossil 恐龍化石



X012-A Stone Carving 石雕品



X013-A Stone Carving 石雕品



X014-A Stone Carving 石雕品






Y001-Beauty in Red Hair-kerchief,Wooden Shoes,White Robe, Bamboos Painting by Zhang Daqian dated 1980 張大千1980年作脩竹紅髮巾木屐白袍裸肩日本美女圖



Y002-Autumn Twilight in a Forest Painting by LIN FENGMIAN inscribed by CHENG SHIFA 林風眠作程十髮題引首秋艷風景圖



Y003-The Children and Father Sitting on the Back of Camels Painting by Huang Zhou 黃冑作駱駝背上的小學生與父親圖



Y004-Landscape Painting by Feng Chaoran 馮超然作山水圖



Y005-The Heavenly Place in Mankind World by Zhang Daqian dated 1982 張大千1982年作人家在仙堂潑彩山水圖



Y006-Mountain Emei May Be Crossed On Top by Zhang Daqian dated 1971 張大千1971年作可以橫絕峨嵋巔潑彩山水圖



Y007-The Dreamland of Mountain Qingcheng in Heavenly Place by Zhang Daqian dated 1981 張大千1981年作夢入靑城天下幽人間仙境潑彩山水圖



Y008-Splashed Color Landscape Painting of Fuchun Mountain by Zhang Daqian dated 1978 張大千1978年作富春山居潑彩山水圖



Y009-Splashed Color Landscape Painting of Beautiful Mountain Qingcheng by Zhang Daqian dated 1973 張大千1973年作青城天下幽潑彩山水圖



Y010-One Hundred Children by Chinese handmade Silk Embroidery Xiangxiu Qing Dynasty China 中國清朝手工湘繡百子圖



Y011-Water Village at Southern China by Wu Guanzhong 吳冠中作江南水村






Y012-Y026 One of the Ten Beloved Horses of Emperor Qianlong Qing Dynasty 清朝乾隆皇帝心愛十駿馬之一
























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

尺寸 Size: H 14.8 x W 6.6 x Depth 6.6 公分 厘米 cm
重量 Weight: 1,182 公克 grams
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石有裂格紋,有蘿蔔絲紋,有格有絲成為田黃二大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。

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 5 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711875百美元 ( 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


(2) 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


(3) 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.

黃金黃色的田黃石雕刻藝術品是如此地昂貴係因為它們好像是黃金做的工藝品。它們也是清朝乾隆皇帝的最愛藝術品。

Official Website 官網網址:
http://myfatebook.com

Orion Museum Website 網路博物館:
http://myfatebook.com/orionmuseum/index.html

Left Photo 左方圖:

黃金黃色的田黃石雕蒼龍教子鈕方印 210 公克 g

A Golden color Tianhuang Stone Carved "Mother Dragon teaching her Son Dragon" Decorated Square Seal Carving




尺寸 Size: H 9.3 x W 3.4 x 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:2006107
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: H 6 x W 4.1 x 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:2006107
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: H 6 x W 4.1 x 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:20131119
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:  H 7 x  W 2.5 x 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:201364
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

尺寸 Size:  H 7 x  W 2.5 x Depth 2.5 公分 厘米 cm
重量 Weight: 107 公克 grams

















「臥冰求鯉」的故事:

「晉朝人王祥,生母早逝,繼母不喜歡他,經常在他父親面前進讒言。繼母想吃活魚,當時天寒地凍。王祥解開上衣,趴在冰面上,冰忽然化了,兩條鯉魚躍出。過了幾天,繼母又想吃黃雀,王祥張網羅雀,數十隻黃雀飛了進來。」

這就是臥冰求鯉的故事。這個故事首先出現在東晉人干寶所著的志怪小說《搜神記》,唐朝時被收入《晉書》,蒙元時又被收入《二十四孝》。

王祥出身琅琊王氏,就是「王與馬,共天下」的琅琊王氏。在東晉一朝,琅琊王氏出過8個皇后,12個宰相,20多個駙馬。當然,王祥時候的琅琊王氏,沒有後世之顯赫,但仍是頂級士族。王祥祖父,曾任青州刺史;王祥之父,拒絕朝廷徵辟(讓他做官)。王祥長大後歷任縣令、大司農、司空、太尉等職,封睢陵侯。東晉宰相王導,是王祥的族孫;大書法家王羲之,是王祥的族曾孫。

介紹影片 Videos of Introduction:

(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


Official Website 官網網址:
Orion Museum Website 網路博物館:
...

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: H 6 x W 4.1 x Depth 4.1 公分 厘米 cm
重量 Weight: 228 公克 grams
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石有裂格紋,有蘿蔔絲紋,有格有絲成為田黃二大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。

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


(02) 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


(03) 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


Official Website 官網網址:

Orion Museum Website 網路博物館:
...

羊脂白玉雕帝王帝后玉珮
Mutton Fat White Jade carved Emperor and Queen Pendant





春秋戰國時代 (西元前 770 西元前 221 ) 雙龍雙鳳 '龍鳳呈祥' 羊脂白玉雕帝王帝后玉珮

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 Height 7.5 x Width 7.5 x Depth 0.8 公分 厘米 cm
重量 Weight: 81 公克 grams
比重密度 Specific Gravity Density : 2.53

介紹影片 Videos of Introduction:


釉岩老玉雕鰲魚龍

Jade carved Fish Dragon






據說鰲魚龍會把外面的財富抓回家

It is said that the Fish Dragon will catch the outside Wealth back home.

尺寸 Size: Length 38 x Height 17.5 x Depth 5.7 公分 厘米 cm



明朝 (1368-1644) 玉雕鰲魚花插是台北故宮博物院所收藏的十大玉器之一,此十大收藏品件件都是價值連城的無價之寶。

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.

介紹影片 Videos of Introduction:


Official Website 官網網址:

Orion Museum Website 網路博物館網址:

清朝乾隆皇帝(1711925日-179927日在世享年88歲)的長壽秘密


摘錄自田黃石如何鑑定?分享鑑定田黃石秘訣一文(2017/05/24 來源:古玩鑑賞交易諮詢)如下:

田黃石是我國特有的「軟寶石」。全世界只有我國福建壽山的一塊不到一平方公里的田中出產,因色相普遍泛黃色,又產在田裡,故稱田黃石。其材質溫潤凝膩,在軟質雕刻石中居第一品。
明、清各朝均被作為貢品獻入皇宮,被雕刻成御用璽印及藝術擺件,故田黃石又被尊為「石中之王」、「石帝」,故其身價無與倫比。……

從田黃石的屬性看,凡經雕鐫的藝術品,都可以當作文物看待,因為它不能複製,屬沒有再生性的藝術品。田黃石在歷代本來產量極低,經過數百年的不斷挖掘,到目前為止,已挖掘殆盡。歷代挖掘的田黃石,能流傳至今的,已成為稀世珍品,進入國內外的收藏機構。流散民間的,皆被藏家所珍藏。……

清朝統治入關,復滅了明王朝以後,建立了清朝政權,為了鞏固其統治,清政府一方面鎮壓反清力量,另一面大力恢復經濟,並在全國採取了以漢文化為特徵的一系列文化統治措施,利用有一定文化基礎的歷史人物、各地有文化背景的物產,與上天聯繫起來,與朝廷統治者有機的聯繫起來,從而達到統治人心的目的。

如康熙皇帝夢與關羽對話的故事轟動全國,並下旨在關羽的原籍山西解州按皇宮規格修建關帝廟,一時關帝廟遍布全國。這一舉動,利用了人們崇尚正統的心理,大大削減了人們的反清心態。

田黃石就是在這種政治措施逐步完善的形勢下交上了好運,被尊為「石帝」、「石中王」的。

乾隆皇帝夢見玉皇大帝賜他田黃石,並賜書「福、壽、田」三字,元旦以田黃祭天的故事,在文人達貴中流為美談,以福建壽山所產的田黃石,喻上天所賜「多福多壽,王土廣袤」,意味著大清江山為上天所賜,以宣揚其「普天之下,莫非王土、率土之濱,莫非王臣」的全國臣民必須忠於大清王朝的封建統治意識。

為此,乾隆皇帝大量收藏田黃石,多用田黃石治以印章。有名的「三希堂」、「長春書屋」印和以一塊田黃石鐫成的「惟一精惟」白文方印、「樂天」朱文圓印、「乾隆宸翰」朱文方印的三連章都是乾隆皇帝以田黃石制的印章,現收藏北京故宮博物院。

這樣一來,朝野上下竟相購以田黃石制印,以炫身份,或為祈福、祈壽、祈田(田喻土地、喻產業)而收藏田黃石。或以田黃石制印。

為此,田黃石的身價,一發而不可收拾。有鄭洛英《無題》詩可證:「別有連城價,此石名田黃」。

……

當時,田黃的價值以重計價,與黃金等值,所謂「一兩田黃一兩金」或「易金數倍」,「黃金易得,田黃難求」。

至清末,普通田黃價已漲到「三倍黃金」,史樹青先生《清怡親王田黃對章》謂:「田石產于田中,無脈可尋,呈天然塊狀,沉積田底,採掘極難,多為當地農民掘田偶然發現。得者視為至寶,故稀有而見珍。……

今則田坑久絕,黃金有價,田黃可以無價矣」。可知田黃石極難開採,是田黃絕少的原因之一,

再者,筆者所見收藏家之舊田黃印章,多為數分高之矮印,從紐式可知原為盈寸之石,(多為薄意形鈕),均為得之者磨去印文,刻已名號,碾轉數人,已成「侏儒」,若再磨則無法制印。由此可知不少田黃印多因履磨而消失,此為田黃印絕少的原因之二;

田黃產於「壽山溪」旁水田底之砂層中,產石地總面積不到一平方公里,清代末已遍挖一百餘年,今石農挖之數月而不得一石,舊日石農偶而尋得,亦被台灣人購運國外,此為田黃印絕少的原因之三。其價格已無法以黃金而計。……

「今則田黃久絕,黃金有價,田黃可以無價矣。」

……

田石作為宇宙中的一種物質,在特殊的環境中生存了數百萬年,其質性已經發生了一定變化,已經形成了它的本質規律,這就是田黃石的質性。

這種質性是一種不可見的非線性的高級物質構成,不是能以現代科學儀器所能測到的可見物質。如同人的經絡,是以任何儀器也測不到,而客觀存在的光導系統是同一道理。……

但是這種高物質卻能作用物體分子的運動:「在北京的隆冬季節,印泥常常凍結,如果把田黃石立於其上就可立即解凍。

郭柏蒼《閩產錄異》所稱田石「蓋地氣挾土力所結者,故隆冬不泐」即有此意。

還有人說,長期服用田黃石粉末,可以延年益壽」。正是由於它這種高物質作用人體,使人體細胞發生變化的原因。

上開原文網址:https://read01.com/7e4Mno.html

頭戴田黃石皮 田黃石雕山水人物薄意方印擺件(1,810 公克)的收藏家於2018112日半夜早上 2 點鐘睡覺中醒來,突然感覺頭疼異常,只好以雙手皮膚緊緊抱住前開巨大田黃石盤手把玩,盤手把玩經過了半小時後,頭疼感覺竟然完全消失,簡直是不可思議的神奇奧妙。

故清朝乾隆皇帝特別地偏愛田黃石,應有其特殊而不為外人所知的積極原因與皇家秘密存在。

因此,此方頭戴田黃石皮 田黃石雕山水人物薄意方印擺件(1,810 公克)於2018112日以後之售價調整為新台幣六億元,或是美金二千萬元。

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 articleThe 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.

Original URL of the above article: 
https://read01.com/7e4Mno.html

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.

介紹影片 Videos of Introduction:

(1) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(2) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(3) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(4) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(5) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(6) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(7) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(8) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(9) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(10) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(11) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(12) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


(13) 清乾隆帝長壽秘密 (田黃石) The Longevity secret of Qing Emperor Qianlong (Tianhuang Stone)


...


























Tienhuang Stones are the most expensive and valuable stones in the world


田黃石是世界上最有價值及昂貴石頭




田黃石雕山水人物薄意方印擺件 1,810 公克 g

頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

A Tianhuang Stone Carved ‘Landscape and Figure’ Decorated Square Seal Carving with yellow Tianhuang Stone-skin on the top

尺寸 Size: 高 H 12.2 x 寬 W 7.4 x 深 Depth 7.5 公分 厘米 cm 

重量 Weight: 1,810 公克 grams 
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石頭頂上帶有田黃石皮,有裂格紋,有蘿蔔絲紋,有皮有格有絲成為田黃三大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。 本件品質與榮寶齋之鎮店重寶田黃石王 (重量: 4,310 公克未雕刻, 經過切割裁取石材雕刻後即與本件重量相當) 相當。

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.

http://myfatebook.com

































介紹影片 Videos of Introduction:

https://youtu.be/bhC-zazVTCA


(1) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/-VAMDBmGNRg


(2) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/dIMz2ka9vXA



(3) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/yVwucAYQPCY



(4) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/OdYS00Twb6I



(5) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/5HP3D-6g2ao



(6) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/nY4FUPagxDM



(7) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/qZUCLlWYHl8



(8) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/gl6Nu_mObgE



(9) 頭戴田黃石皮 田黃石雕山水人物薄意方印擺件

https://youtu.be/UHmKOb6spIc



...

清朝 田黃凍石雕瑞獸鈕方印 373 公克 g

清朝 頭戴田黃石皮 田黃凍石雕瑞獸鈕方印

A Tianhuang Stone Carved ‘An Auspicious Beast’ Decorated Square Seal Carving with yellow Tianhuang Stone-skin on the top

尺寸 Size: 高 H 8.5 x 寬 W 4.2 x 深 Depth 4.2 公分 厘米 cm

重量 Weight: 373 公克 grams
摩氏硬度 Mohs scale of mineral hardness: 3

頭頂上帶有田黃石皮,有裂格紋,有蘿蔔絲紋,有皮有格有絲成為田黃三大要素,燈光照射全通透為凍石,滑膩細緻滴水不沾,像凍蜂蜜狀。

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.

http://myfatebook.com






















介紹影片 Videos of Introduction:

大清頭戴黃石皮田黃凍石雕瑞獸鈕方印

https://youtu.be/y1f2dBBnsEY


清朝頭戴黃石皮田黃凍石雕瑞獸鈕方印

https://youtu.be/PsCYX-fP6W0



清 頭戴田黃石皮 田黃凍石雕瑞獸鈕方印

https://youtu.be/pQHfCqnHnjM




田黃石雕瑞獸鈕方印 202 公克 g


A Tianhuang Stone Carved ‘An Auspicious Beast’ Decorated Square Seal Carving


Size: H 10.2 x W 3.0 x Depth 3.0 公分 厘米 cm

重量 Weight: 202 公克 grams
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石有裂格紋,有蘿蔔絲紋,有格有絲成為田黃二大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。


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

(12) 田黃石雕瑞獸鈕方印 (202 g) A Tianhuang Stone Carved ‘An Auspicious Beast’ Decorated Square Seal Carving
...

田黃石雕瑞佛彌勒佛(大肚佛)鈕方印  451 公克 g

A Tianhuang Stone Carved ‘An Auspicious Buddhist God’ Decorated Square Seal Carving

尺寸 Size: H 9.1 x W 5.0 x Depth 5.1 公分 厘米 cm

重量 Weight: 451 公克 grams
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石有裂格紋,有蘿蔔絲紋,有格有絲成為田黃二大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。

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


(14) 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
...

田黃石雕瑞獸鈕方印 105 公克 g


A Tianhuang Stone Carved ‘An Auspicious Beast’ Decorated Square Seal Carving

尺寸 Size: H 8.3 x W 2.5 x Depth 2.5 公分 厘米 cm

重量 Weight: 105 公克 grams
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石有裂格紋,有蘿蔔絲紋,有格有絲成為田黃二大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。

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


(16) 田黃石雕瑞獸鈕方印 (105 g) A Tianhuang Stone Carved ‘An Auspicious Beast’ Decorated Square Seal Carving
...

田黃石雕瑞佛彌勒佛鈕方印1件及瑞獸鈕方印2

Three Tianhuang Stone Carved Decorated Square Seal Carvings








田黃石雕瑞獸鈕方印 202 公克 g (右方圖)

A Tianhuang Stone Carved ‘An Auspicious Beast’ Decorated Square Seal Carving (right photo)


田黃石雕瑞佛彌勒佛(大肚佛)鈕方印 451 公克 g (中間圖)

A Tianhuang Stone Carved ‘An Auspicious Buddhist God’ Decorated Square Seal Carving (middle photo)


田黃石雕瑞獸鈕方印 105 公克 g (左方圖)

A Tianhuang Stone Carved ‘An Auspicious Beast’ Decorated Square Seal Carving (left photo)


介紹影片 Videos of Introduction:

(1) 田黃石雕瑞佛彌勒佛鈕方印1件及瑞獸鈕方印2 Tianhuang Stone Carved Decorated Square Seal Carvings


(2) 田黃石雕瑞佛彌勒佛鈕方印1件及瑞獸鈕方印2 Tianhuang Stone Carved Decorated Square Seal Carvings


(3) 田黃石雕瑞佛彌勒佛鈕方印1件及瑞獸鈕方印2 Tianhuang Stone Carved Decorated Square Seal Carvings


(4) 田黃石雕瑞佛彌勒佛鈕方印1件及瑞獸鈕方印2 Tianhuang Stone Carved Decorated Square Seal Carvings


(5) 田黃石雕瑞佛彌勒佛鈕方印1件及瑞獸鈕方印2 Tianhuang Stone Carved Decorated Square Seal Carvings
...

田黃石雕方印

Tianhuang Stone Carved Square Seal Carvings

頭戴田黃石皮 田黃石雕山水人物薄意方印擺件 1,810 公克 g

A Tianhuang Stone Carved ‘Landscape and Figure’ Decorated Square Seal Carving with yellow Tianhuang Stone-skin on the top

尺寸 Size: H 12.2 x W 7.4 x Depth 7.5 公分 厘米 cm
 
重量 Weight: 1,810 公克 grams 
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石頭頂上帶有田黃石皮,有裂格紋,有蘿蔔絲紋,有皮有格有絲成為田黃三大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。

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

https://youtu.be/9i9CmCG0ZJI


(02) 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

https://youtu.be/CSfmb_VDuOo

...

田黃石雕瑞佛彌勒佛鈕方印 451 公克 g

A Tianhuang Stone Carved ‘An Auspicious Buddhist God’ Decorated Square Seal Carving

尺寸 Size: H 9.1 x W 5.0 x Depth 5.1 公分 厘米 cm 

重量 Weight: 451 公克 grams 
摩氏硬度 Mohs scale of mineral hardness: 3

本件田黃石有裂格紋,有蘿蔔絲紋,有格有絲成為田黃二大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。

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

尺寸 Size: H 9.8 x W 4.9 x Depth 5.0 公分 厘米 cm 

重量 Weight: 672 公克 grams 
摩氏硬度 Mohs scale of mineral hardness: 3 

本件田黃石有裂格紋,有蘿蔔絲紋,有格有絲成為田黃二大要素,燈光照射通透,滑膩細緻滴水不沾,具備有蘿卜紋、紅血絲筋紋、裂格紋、通透、滑腻感、油脂與玻璃光泽等天然田黃石的特徵。 本件為世上罕見稀少略帶烏鴉皮之白田黃石雕山水薄意方印。

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


Official Website 官網網址:






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


來源:明朝洪武18年(西元1385年)被明朝皇帝任命為軍事元帥職陳秀甫公第20世代子孫陳萬承家族之祖傳傳世品

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.

(28) 大明宣德年製海床撈出傳奇絲路中國外銷經中東至歐洲霽藍釉刻花卉紋梅瓶

尺寸: 高 33.50 公分, 最大腹徑 21 公分, 口徑 4.80 公分, 足徑 11.00 公分.

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.


(29) 海撈大清雍正年內務府唐英督管(景德鎮)珠山御窯廠窯務制宮廷貢品宮廷專用皇帝賞珍青花花鳥紋瓶 

尺寸: 高 45.50 公分, 最大腹徑 19 公分, 口徑 12.50 公分, 足徑 11.00 公分. 

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.

這是個傳奇而美妙的世界. 假如在土中找不到寶物, 可以在海裡找到! 本應是屬於北京紫禁城皇宮內大清皇帝或是15世紀歐洲或中東君王賞珍之寶的中國名瓷, 卻成為海龍王賞珍之寶.


海床撈出中國名瓷更加珍貴無比


The Chinese Fine Ceramics unearthed in the seabed are much more valuable and priceless 


藏在海床污泥內的中國名瓷, 與空氣完全隔離, 宛如置於時空膠囊中, 只要將其瓷體表面的海床污泥刷洗乾淨, 再用淨水泡洗沖刷除去瓷體表面所寄生之海殼類生物體, 即可煥然一新, 正與數百年前剛燒好出窯時的狀況差不多。 官窯瓷器製造堅固,海潮及海浪無法輕易地破壞海中的官窯瓷器。因此, 它們提供了最正確的到代參數資料庫如胎質、胎土、釉面、彩料、紋飾、氣泡、工法、燒法、火石紅、開片、款識、底足、內胎、年代、……等等, 而掌握了這些正確的歷史數據資料, 即等同於具備了過去於瓷器剛燒好出窯時所能取得的相關瓷器鑑定知識,縱使是現代人完全無法回到數百年前之過去年代。

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  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











The National Treasures which both the National Palace Museums in Beijing and Taipei as well as the British Museum in London, UK have not collected.

兩岸北京及台北故宮博物院及英國倫敦大英博物館都沒有收藏的國家寶藏



(1)



The Treasure of the Imperial Appreciation for the Qianlong Emperor Qing Dynasty ( 1736 - 1795 )
清朝乾隆皇帝御覽之寶 ( 1736 - 1795 )



Orion Hsu Collection 珍藏品























(2)



The Emperor's Dragon Plaque Jade Pendant - The Treasure of the Imperial Appreciation for the Qianlong Emperor Qing Dynasty (1736-1795)
清朝乾隆皇帝御覽之寶-皇帝之龍牌玉珮 (1736-1795)



Orion Hsu Collection 珍藏品


















(3)



An imperial sky-blue-after-rain azure agate-in-glazed square eggshell porcelain bowl of Emperor Chai Rong, Imperial Kiln, Hou-Zhou Dynasty (954 - 959), Five Dynasties.
五代後周皇帝柴榮官窯雨過天青色瑪瑙入釉薄胎四方瓷碗 (公元 954 - 959)



Orion Hsu Collection 珍藏品






















(4)



A Tianhuang Stone Carved ‘Auspicious Tiger Beast King’ Qing Dynasty
清朝田黃石雕瑞虎獸王 (1182 公克 g)



Orion Hsu Collection 珍藏品


















(5)



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()頭龍鳳呈祥帝王帝后玉珮(公元前770公元前221)

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 西元前 221 ) 雙龍雙鳳羊() '龍鳳呈祥' 高古羊脂白玉雕帝王帝后玉珮



Orion Hsu Collection 珍藏品




















(6)



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公元前221)

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

春秋戰國時代 (西元前 770 西元前 221 ) '龍鳳呈祥' 高古鐵紅土沁白玉雕帝王帝后玉珮



Orion Hsu Collection 珍藏品

















(7)



An imperial pottery Sancai Mouth folding peony Dish, Imperial Gangwa kiln, Liao Dynasty (916-1125).
遼代缸瓦官窯遼三彩折沿牡丹花紋陶盤 (916-1125)

An imperial pottery Sancai Mouth folding peony Dish, Imperial Gangwa kiln, Liao Dynasty ( 916 - 1125 ).

遼三彩折沿牡丹花紋陶盤, 缸瓦官窯, 遼代 ( 916 - 1125 ).



Orion Hsu Collection 珍藏品















(8)



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 
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

腹徑 Abdomen Diameter 23.5 cm x Height 37 cm 公分 
口徑 Mouth Diameter 8.2 cm 公分 
圈足徑 Round Base-stand Diameter  11 cm 公分 



Orion Hsu Collection 珍藏品









(9)



An imperial bronze bird-beast wine-drinking Si Gong Shang Dynasty 1600 B.C. - 1046 B.C.
商朝皇家青銅飲酒器鳥獸形兕觥

An imperial bronze bird-beast wine-drinking Si Gong, Shang Dynasty (1600 B.C. - 1046 B.C.).
商朝皇家青銅飲酒器鳥獸形兕觥 (公元前 1600 - 公元前 1046 )



Orion Hsu Collection 珍藏品









(10)



An imperial Zhou silver embellished bronze Food-storage Ritual Stem-Dou shaped Ding Shang Dynasty 1600 B.C. - 1046 B.C.
商朝周國皇家青銅錯銀儲存食物祭祀禮器高足豆形傳國王鼎 (公元前 1600 - 公元前 1046 )

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.
商朝周國皇家傳周國王位青銅錯銀儲存食物祭祀禮器高足豆形弟姒鼎及年亨子鼎’ (公元前 1600 - 公元前 1046 )



Orion Hsu Collection 珍藏品



https://youtu.be/mqzHny8uLFc 






...


11 Treasures of Orion Hsu Collections

Orion Hsu  11 件收藏品


(1)

清朝乾隆年製白玉雕乾隆皇帝皇室護身「觀音菩薩像」
(公元 1736 年至公元 1795 )

此藝術品與清朝乾隆年製白玉雕「乾隆御覽之寶」雕紋乾隆皇帝御賞玉珮為同置一處收藏。

重量: 53 公克
尺寸:高 5.3 x 5 x 1.2 (公分)

介紹影片:




(2)

西漢白玉彫黃土沁帶水沁線穀紋遊絲毛雕皇太子用「龍鳳呈祥玉珮」
(公元前 141 年至公元前 87 )

此玉雕水沁線、及西漢遊絲毛雕工藝於現代為完全無法仿製。

重量: 48 公克
尺寸:高 7.2 x 7.4 x 0.6 (公分)

介紹影片:




(3)

紅山文化青白玉雕遊絲黃土沁王族護身「玉鶚鳥」
(公元前 4700 年至公元前 2900 )

註:此遊絲黃土沁於現代為完全無法仿製。

重量: 53 公克
尺寸:高 4.9 x 4.2 x 1.3 (公分)

介紹影片:




(4)

宋朝白玉雕紅血沁鴻運當頭龍頭「玉帶鉤」
(公元 960 年至公元 1279 )

註:此紅血沁於現代為完全無法仿製。

重量: 49 公克
尺寸:長 8.5 x 2.0 x 2.4 (公分)

介紹影片:




(5)

清朝白玉雕將官男用「玉戒指」與將官夫人女用「玉珮吊飾」一對
(公元 1644 年至公元 1911 )

男用「玉戒指」:

帶鑲重量: 19 公克
玉石尺寸:高 2.5 x 1.8 x 1.5 (公分)

女用「玉珮吊飾」:

帶鑲重量: 18 公克
玉石尺寸:高 2.9 x 2 x 0.6 (公分)

介紹影片:




(6)

元青花海撈瓷人物故事紋蒜頭瓶
(公元 1271 年至公元 1368 )

註:此瓶之海撈瓷年代、元代蘇麻離青鈷料、與元代人物故事紋於現代為完全無法仿製。

尺寸:

瓶高 40.5 x 瓶口直徑 4.7 x 圓腹直徑 19 x 蒜頭瓶口之蒜頭腹部直徑 6.5 x 圈底直徑 12.5 x 圈底高 1.7 (公分)

介紹影片:




(7)

清朝乾隆年製最高等波斯一級大塊綠松玉石雕帶鑲「龍鳳呈祥紋」與「龍紋」乾隆皇帝御用中藥丸瓷松石瓶
(公元 1736 年至公元 1795 )

此藝術品所使用之最高等波斯一級大塊綠松玉石雕刻石材及帶鑲「龍鳳呈祥紋」與「龍紋」精美工藝於現代皆為完全無法仿製。

瓶底款識: 乾隆年製
帶鑲重量: 376 公克

尺寸:瓶高 10.9 x 龍頭嘴口至把手寬度 11.7 x 瓶圓腹直徑 5.1 x 圈足底直徑 3.9 x 瓶口直徑 3.2 (公分)

介紹影片:




(8)

清朝光緒年製寶石藍霽藍釉帶鑲「龍鳳呈祥紋」與「帝王騎馬紋」光緒皇帝御用中藥丸瓷瓶
(公元 1875 年至公元 1908 )

此藝術品所使用之寶石藍霽藍釉及帶鑲「龍鳳呈祥紋」與「帝王騎馬紋」精美工藝於現代皆為完全無法仿製。

瓶底款識: 光緒年製
帶鑲重量: 213 公克

尺寸:瓶高 11.4 x 龍頭嘴口至把手寬度 12.6 x 瓶圓腹直徑 6.5 x 圈足底直徑 3.6 x 瓶口直徑 3.6 (公分)

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(9)

五代後周皇帝柴榮官窯雨過天青色瑪瑙入釉雙獸耳「原刻奉華款」五爪支燒釘八棱直頸弦紋觀音菩薩淨水瓶
(公元 954 年至公元 959 )

此藝術品所使用之雨過天青色瑪瑙入釉、底部細小五爪支燒釘痕、五爪支燒釘痕及原刻「奉華」款處皆為無釉並露出香灰胎色等精美工藝於現代皆為完全無法仿製。

此淨水瓶與中國陝西省法門寺出土的唐朝秘色青瓷八棱直頸淨水瓶 (現藏法門寺博物館) 的造型相同,但是於直頸近口端處多了一對雙獸耳裝飾。

瓶底款識: 奉華
瓷瓶重量: 307 公克

尺寸:瓶高度 19.2 x 八棱瓶口徑 2.2 x 瓶八棱最大腹徑 8.0 x 圈足底直徑 6.4 x 雙獸耳寬度 5.9 x 八棱長頸長度 10.5 (公分)

此瓶造型十分優雅,製作工細,釉質純凈瑩潤,其質感似絲綢般柔美。器型端莊規整,釉色晶瑩,胎質細密。瓶頸細長,直口,八棱唇,肩部圓隆,腹呈八瓣瓜棱形,圈足稍外侈,器底內凹。在瓶頸与瓶身相接處裝飾有相應的八角凸棱弦紋三周,呈階梯狀。通體施明亮雨過天青色瑪瑙入釉,瓶身內外及外底皆滿釉,釉面有細碎冰裂紋開片。瓶底部有細小五爪支燒釘痕及原刻「奉華」款識。五爪支燒釘痕及原刻「奉華」款處皆為無釉並露出香灰胎色。此瓶為柴窯瓷器中的上品,其工藝與兩岸故宮藏北宋汝窯瓷器中的上品相同。其原刻「奉華」款題字表明此器為當時供奉五代後周皇帝柴榮宮廷用佛教五寶瓶的器物。

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註一:唐朝越窑秘色瓷八棱瓶介紹

後唐庄宗(李存勖)同光 4 年(公元 923 年),越窑青瓷器被稱為秘色瓷”。後唐莊宗李存勗(公元 885 12 2 日至公元 926 5 15 日)。

唐朝越窑秘色瓷八棱瓶,唐咸通十五年 (公元 874 ),出土于法门寺地宫,现收藏于法门寺博物馆。

法门寺八棱净水秘色瓷瓶出于法门寺地宫中室内。其造型十分优雅,端庄规整,釉色晶莹,胎质细密。瓶颈细长,直口,圆唇,肩部圆隆,腹呈瓣瓜棱形,圈足稍外侈。在瓶颈与瓶身相接处装饰有相应的八角凸棱纹三周,呈阶梯状。通体施明亮青釉,有开片。足底露胎,胎色浅灰而精致细密。瓶高 21.5 厘米、最大腹径 11 厘米、口径 2.2 厘米、颈高 11 厘米,重 615 公克。

再从佛教的仪轨看,此法门寺八棱净水秘色瓷瓶出土时内有宝珠,应属于密教的供养器五贤瓶”五宝瓶” 之类。用它盛上五宝、五药等以消除烦恼、去除尘垢,系为佛家宝物。

越窑秘色瓷的装烧技术也是十分先进的。法门寺地宫出土的秘色瓷,釉面光滑,釉色纯净,器物底部有糯米状支烧钉的痕迹,表现出唐代越窑在装烧工艺方面的革新,即使用了匣钵,实施“单件烧”。秘色瓷打破了窑内明火叠烧的传统工艺,避免了因瓷器叠烧而出现的釉面烟熏、火刺、落沙、粘釉和内心留有支烧痕等缺陷,有效杜绝了明火叠烧的不足,提高了瓷器的质量,对以后的烧制工艺产生了广泛而深刻的影响。


註二:奉華款識介紹

傳說「奉華」款是北宋晚期宋徽宗時有一獻女,深受宋徽宗寵幸,御封為劉妃,賜宮一座名「奉華殿」,很多有「奉華」款的汝窯、定窯均為「奉華殿」的專用物。但是查找了眾多史料及多方論文均沒有確切的史料依據說明「奉華」殿的確屬性,且目前發現器物全部是「後刻款」,現分析這類「後刻款」應該有三種可能性,其一:有些可能是在南宋、金代斂進宮後在器物上後刻的款,例如現藏大英博物館所宋、金定窯刻花折沿盤底部中心後刻有「奉華」二字。

台北故宮博物院藏汝窯青瓷盤底部也刻有「奉華」二字,這兩種刻字刀法、結構相同,應該是十二、十三世紀刻上去的可能性比較大,因為「奉華」二字寫法較為自然,比較接近原刻款,這是用刻玉工具直接刻的,沒有修飾的痕跡,刻在器物的底部中心,也沒有給乾隆皇帝留出刻御題詩的地方,顯然不是乾隆時期所為,因此推理應該不是乾隆時期的刻款。

尤其是這兩件「奉華」款十分相似,從刀法,到字體結構,也與 2007 年杭州出土的一片殘片的「奉華」款極為近似。

據稱 2007 年於杭州海軍療養院工地,南宋皇宮大內遺址出土一片定窯殘片底,該殘片剛剛好有後刻款「奉華」二字,這兩個字的刻法與大英博物館、台北故宮博物院藏的兩件器物的刻款極為接近,尤其是「華」字,刻法也是磨刻的,與杭州出土的北宋定窯殘片類同,或許也是南宋宮廷在沒法訂製的情況下,選用上好的北宋定窯入宮,刻「奉華」侍用。

還有一部分應該是乾隆在心愛的瓷器上刻御題詩時刻上去的,乾隆詩曰:「定州白惡有芒形,特命汝州陶嫩青。口欲其堅銅以鎖,底完而舊鐵余釘。合因點筆意為靜,便不簪花鼻亦馨。當日奉華陪德壽,可曾五國億留停。乾隆戊午仲夏御題(公元 1738 年)」鈐「古香」「趙」二方章。 這首詩的左面刻有「奉華」二字,首先看看這字體是仿宋體,暗示它是宋徽宗時期的器物,再看看布局是明顯的讓出御題詩而特意刻在左側,這樣的布局是明顯安排好的,而絕不可能宋代預留出來給乾隆刻御題詩的空間,「奉華」二字的仿宋體也是明顯暗示年代,其實原刻款和宋、金後刻款都是很隨意的自然直線刻上去的,並不是按宋徽宗的瘦金體刻的,這件按宋徽宗的書體刻的顯然是「畫蛇添足」了。

第三類刻款就是晚清、民國時期所刻,1914 年成立了「古物陳列室」(即故宮前身),1925 10 月正式對外開放,為了一睹皇宮珍藏的寶貝,眾生雲集,古董商們也頻頻出入模仿御題詩,一時間市場上多了不少帶御題詩的器物,這類器物尚待今後仔細辨別。

今天我們爆料「奉華」原刻款卷口瓶,它將改變我們舊有的認識觀念,「奉華」應該不是傳說中的北宋徽宗寵愛劉妃的宮殿,不過據說劉妃所用的「奉華」印,或許是巧合?藉此而安在劉妃名下尚未可知?但是「奉華」款的器物早在晚唐、五代的定窯官樣器物上就已經出現了,而且是原刻款,這不得不讓我們重新思考「奉華」的年代及出處。

為什麼說這件定窯「奉華」款不一定是北宋的呢?我們發現了原刻「奉華」定窯白釉刻祥雲紋卷口瓶,這種卷口瓶應該是仿金銀器的作品,流行於晚唐,唐代的唐三彩作品也有,參見法國吉美博物館藏唐三彩唇口瓶,以及晚唐、五代「官」字款卷口瓶(參見《定窯瓷器探索與鑑賞》下冊 100 頁),這兩件瓶的頸部都有『竹節紋』(單節)裝飾,定窯此時的器物口流行卷口,時間的推移,卷口被粘合到頸部,形成了唇口,竹節頸裝飾也漸漸消失了,通過下圖的對比可以清楚地看出這類瓶的演變過程。A:晚唐定窯「官」字款刻祥雲紋瓶,B:唐代三彩唇口瓶,C:晚唐、五代定窯白釉刻祥雲紋「奉華」款唇口瓶,D1969 年定州塔基出土(公元 977 年)定窯刻祥雲紋唇口瓶。

1969 年凈志寺(公元 977 年)出土的那件唇口瓶還有一段故事,出土時是完整的器物,1972 9 29 日中日建交,七十年代中這批定州出土的北宋早期器物作為文化交流到日本展覽,非常轟動,日本人對定窯的寵愛是無法用語言來表達的,展覽期間日本方面提出要購買一件早期定窯作品,這件刻祥雲紋唇口瓶就被選中了,幾次協商無果,日方工作人員就『一個不小心』打破了這隻瓶,之後,又一輪洽談協商還是要買這隻被打破的瓶,仍然無果!最後這寶貝帶著傷殘的身軀回到了祖國。可想而知這件寶貝的重要性喲。

縱觀目前查明的帶「奉華」款的器物大約十件,除上面介紹的定窯外還有上海博物館藏有一折腰盤及一小碗,北京故宮博物院藏有一殘片標本,而台北故宮博物院藏汝窯有出戟尊、瓶、瓜棱注碗及四件碟都刻有「奉華」二字,大英博物館藏一件宋金定窯折沿盤,2007 年於杭州海軍療養院工地,南宋皇宮大內遺址出土一片定窯殘片,1975 年調查河南禹縣鈞台窯址時,也採集到一件鈞窯出戟尊殘器,底部燒造前刻有「奉華」字銘,總結一下定窯四件整器+兩片殘片,汝窯七件,鈞釉一殘器。

所有這些加起來只有唯一一件完整的晚唐、五代定窯白釉刻祥雲紋「奉華」是「原刻款」,其它都是「後刻款」,至於後刻年代前面已經簡短說明,而鈞釉出土的那件原刻款很有可能也是明代初期的作品,就像在近年來的考古挖掘中卻證實它們很多是明代早期的器物,而眾多人認為是宋代宮殿的名稱也只是個猜測而已,要知道即便有了乾隆御題詩的器物也未必就是宋代「刻的」!這一點還有待進一步探討。「後刻款」不能真實的反映歷史,只有「原刻款」才是當朝歷史的物證。

大凡唐、宋的宮殿名稱我們知道的甚少,這類款器物既不見宋人記錄,又不見於宋代墓中出土,大多是傳世品,且又是「後刻款」可信度大打折扣,就如乾隆帝把贗品題上御題詩,等到真跡進宮則不認,這讓後人很容易將題有御題詩的當成真跡道理一樣。

但是以上提到的汝窯、定窯白瓷本身並不等於年代不符,只是「後刻款識」還有待我們的專家、學者進一步考證核實。

參見黑石號沉船出水的大量唐代陶瓷,不僅有「盈」字款綠釉盞(可能是鞏縣窯、或長沙窯作品),還有「進奉」款綠釉盞,這就明確說明了唐代原刻款的器物在當時是不爭的事實。

以上文章引自每日頭條 2019-03-17 沙家櫪 (藝術家、考古研究者) 作《探索「奉華」款之謎》一文。




註三:汝瓷「奉華」款

北宋時汝瓷器表常刻「奉華」二字指什麼呢?奉華堂。「奉華」是南宋宮殿之名,南宋德壽宮的配殿,是宋高宗趙構的寵妃劉貴妃居住的地方,很多寫「奉華」的汝窯都是劉貴妃她本人使用的。

劉貴妃本是酒家之女,出身卑賤,但長得光艷風流,有傾國傾城之貌。徽宗對劉氏寵愛有加,與她形影不離。史書上記載,劉氏天資穎悟,善於逢迎徽宗,而且還有點兒才華,會畫畫,她自己有兩方章,一大一小,刻著「奉華」兩個字,在傳世的一幅曾被劉貴妃收藏的名畫上,鈐蓋有「奉華」小印一方,說明當年這些器物就陳設在劉貴妃所居的奉華堂內。

通觀傳世汝瓷的「奉華」二字,其字體的刻法如出一人之手,同為宮廷玉工所刻,因此一般學者認為「奉華」款汝瓷是皇帝賞賜劉貴妃的私人用物。除汝窯之外定窯、鈞窯器底也曾發現刻有「奉華」二字。

以上文章摘錄引自每日頭條 2016-09-11《揭秘汝瓷背後的故事 "奉華" "" 字款識》一文。



註四:此瓶瓶底之原刻「奉華」款識

此件藝術品應為五代後周皇帝柴榮元配貞惠「劉皇后」所住之奉華殿用品。因瓶底之原刻「奉華」款與另件藝術品「五代後周皇帝柴榮官窯雨過天青色瑪瑙入釉薄胎四方瓷碗 (公元 954 959 )」之器底原刻「柴」款 (柴窯)