Accumulated Numbers of Visitors :  00000771096

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







Art Collections of Orion Museum / Orion 藝術博物館藝術收藏品

https://youtu.be/E6Bailh_DCw



http://orionmuseum.com

Paintings of Orion Museum / Orion 藝術博物館書畫

https://youtu.be/LGdriWFVB-s



Ceramics of Orion Museum / Orion 藝術博物館陶瓷器

https://youtu.be/QbGA4LnNUME



Antiques of Orion Museum / Orion 藝術博物館古董

https://youtu.be/c2U7H7yUj54




Paintings of Orion Museum / Orion 藝術博物館書畫

https://youtu.be/LGdriWFVB-s





































































































































Ceramics of Orion Museum / Orion 藝術博物館陶瓷器

https://youtu.be/QbGA4LnNUME









































































































Antiques of Orion Museum / Orion 藝術博物館古董

https://youtu.be/c2U7H7yUj54








































































































































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

Auth