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.
ORION WEB SELLING PLATFORM
ORION 網路銷售平台
Turn Web Browsing ENERGY AND TIME to BUSINESS AND MONEY
將網路瀏覽能量及時間轉變為生意與金錢
Buy
Future Opportunity Reports
買未來機會報表
Solar Light Electrified Collector
太陽能光電收集器
Taiwan Made 3TB External 3.5” HDD
台灣製造 3TB 外接式3.5英吋硬碟儲存裝置
Taiwan Tea 台灣茶
Car Driver Refreshing Tea 開車提神茶
Tote Bag 大手提袋
Home Pillow 家庭枕頭
Sofa Pillow 沙發枕頭
Car Pillow 汽車枕頭
Beautiful Apparel 美麗衣服
Tote Bag 大手提袋
Home Pillow 家庭枕頭
Sofa Pillow 沙發枕頭
Car Pillow 汽車枕頭
World Art Fair and World Art Olympiad
世界藝術博覽展售會與世界藝術競賽會
Orion
Art Museum and Gallery
Orion 藝術博物館與藝廊
Fine Chinese Paintings
精美中國書畫
Chinese Potteries and Ceramics
Fine Chinese Porcelain Ware
精美中國陶瓷器
Fine Chinese Bronze Ware
精美中國青銅器
Fine Chinese Jade and Jadeite carved Artifacts and Sculptures
精美中國玉製及翡翠製雕塑品
Dinosaur fossils
恐龍化石
Space Meteorites
太空隕石
Collections including those made from Century B.C. to A.D.; and Source
from unearthed, unearthed-seabed, to the outer space.
收藏品年代包含從西元前至西元後;
來源從地下海床到外太空.
A Facebook public group "Fine Art to Sell"
臉書公共社群網站 "藝術精品展售"
Hello! Your
beautiful works of art are invited to join a public Facebook group "Fine Art to Sell" to exhibit freely fine art for
sale to buyers worldwide.
From
Western Oil Paintings to Chinese Watercolor Paintings; from Europe to America
via China and Africa by-passing India; from bronze, jade and Jadeite, ceramics,
paintings, dinosaur fossils, sculptures, to space meteorites; from century B.C.
to A.D.; from US several dollars to millions, and even priceless; from
unearthed, unearthed-seabed, to the outer space,
you can find many extra-ordinary works of art here in this group!
Over thirty-two thousand increasing group members, most of
them are creative and professional Artists, have offered over five thousand and five hundred increasing valuable lots
for your appreciation and examinations! It’s completely free to be in and free
to be out as your wish and to get your knowledge of worldwide art freely!
(Over
32,000 group members and 5,500 artworks)
哈囉! 邀請您美麗的藝術作品歡迎加入臉書公共社群網站 "藝術精品展售"
以便向全世界的買家免費展示.
從西方油畫到中國水墨彩畫; 從歐洲至美洲經由中國與非洲路過印度; 從青銅器, 玉器翡翠, 瓷器, 書畫, 恐龍化石, 雕塑, 至太空隕石; 從西元前至西元後; 從數美元至數百千萬美元, 甚至無價之寶; 從地下出土, 海底床出水, 甚至於外太空, 您可在此臉書公共社群網站中找到許多特別好的藝術作品!
超過三萬二千位增加中的會員,
其中絕大部分是富有創造力強而專業的藝術作家, 已經提供了超過五千五百件增加中的名貴藝術作品供您鑑賞!
它是完全免費進入也是免費離開, 且正如您所願, 可以自由進出以取得您的全球藝術知識!
(超過32,000名會員與5,500件藝術品)
Over 1,800 photos of fine Chinese works of art including
Ceramics and Paintings from large museums worldwide and Sotheby’s auctions as
well as Christie’s auctions:
超過1,800件在世界各大博物館及蘇富比拍賣與佳士得拍賣之精美中國瓷器及書畫藝術品圖片資料
(Over 1,800 artworks)
Mr. Orion Hsu
Orion Museum and
Gallery
Email:
(Over 875,000 visitors/views/clicks 訪客點閱 with Google+)
(Over 6,276,000
visitors/views/clicks 訪客點閱 with Google+)
(Over 760,000 visitors/views/clicks 訪客點閱 with Google+)
10,000
visitors/views/clicks per
day at Flickr
於Flickr網站每天有10,000人次閱覽
(Over 6,600,000 visitors/views/clicks)
