Japanese porcelain celadon lavender glazed ribbed vase of Ru-type with ribbed body, bamboo-form neck and upright rim, covered overall on the base and interior with an even celadon lavender crackled glaze thinning at the narrow ribs, the foot brown.
12 inches, 30.5 cm high.
Kawase Shinobu, 1982.
Wood box, described as ‘celadon flower vase’, signed and with artist’s seal, Shinobu, on the interior of the cover and the orange cloth.
Provenance & Additional Information
- Purchased at the Shiyu-kai Auction, Tokyo, June 2020.
- A related vase was included in the 4th solo exhibition at Kandori, The New Otani Hotel, Tokyo, 1983, illustrated in the catalogue, no. 6; another of similar size was included in the 1st solo exhibition at Kochukyo, Tokyo, 1985, illustrated in the catalogue, no. 2; a related faceted version was included in the 1st solo exhibition of Kawase Shinobu at Kandori, The New Otani Hotel, Tokyo, 1976, no. 7.
- The prototype for this vase was produced in the Southern Song dynasty (12th-13th century). A similar example of this size also with a celadon lavender crackled glaze, in the National Palace Museum, Taiwan, is illustrated by Wang Shih-chieh in Kuan Ware of the Southern Sung Dynasty, Book I (Part 1), pl. 10 & 10a, pp. 50/1; and another of the same period with an incised Qianlong (1736-1795) poem on the base is illustrated in the same book, pl. 11 & 11a, pp. 52/3 and front cover; another in the Qing Court Collection and a related Longquan vase of similar size are illustrated by Li Huibing in Porcelain of the Song Dynasty (II), The Complete Collection of Treasures of the Palace Museum, Beijing, vol. 33, nos. 1 & 103, pp. 2/3 & 115 respectively; another Guan-type vase of the Southern Song dynasty also with a Qianlong poem incised on the base is in the Percival David Foundation at the British Museum and is illustrated by Stacey Pierson with Amy Barnes in A Collector’s Vision: Ceramics for the Qianlong Emperor, no. 16, p. 25.
- A Longquan celadon glazed smaller example, Southern Song dynasty, from the collection of the Honourable Mr. Justice Robert Tang Kwok-ching, SBS, the Xiwenguozhai Collection, was included by Marchant in their exhibition of Chinese Ceramics Han to Song, 2018, no. 33, pp. 110/1.
- Qing dynasty (1644-1911) imperial versions are also known. A Yongzheng (1723-1735) related vase with a celadon lavender Ru-type crackled glaze in the National Palace Museum, Taiwan, is illustrated by Tong Yihua in The Catalogue of a Special Exhibition of Ch’ing Dynasty Monochrome Porcelains in the National Palace Museum, no. 79, p. 131; and a Yongzheng painting by Lang Shining, Giuseppe Castiglione dated to the 1st year of Yongzheng’s reign, the 15th day of the 9th month (1723), in the National Palace Museum, Taiwan, is illustrated by Michel Beurdeley and Guy Raindre in Qing Porcelain, Famille Verte, Famille Rose, 1644-1912, no. 216, p. 154, where it is interesting to note that the painting with flowers in a similar shaped vase is Yongzheng and in imitation of the Song period.
- A Qianlong imperial flambé example now in the Ostasiatische Museum, Köln, was included by Marchant in their exhibition of Qing Mark and Period Monochrome and Two-coloured Wares, 1992, no. 24, pp. 38/9 and back cover; another unmarked turquoise glazed example was included by Marchant in their Recent Acquisitions catalogue, 2003, no. 29, p. 45; and a celadon smaller example was included by Marchant in their exhibition of Qing Porcelain from Three Private Collections, 2019, no. 16, pp. 46/7.