Chinese Yaozhou moulded small monochrome celadon bowl of conical form with gently flared rim and short foot rim, the interior with six stylised chrysanthemum flowerheads on a continuous scrolling branch encircling a central flowerhead all amongst leaves, the exterior carved with vertical lines, covered overall in a luminous olive-green glaze falling short of the biscuit unglazed foot rim, revealing the high-fired stoneware body.

4 inches, 10.1 cm diameter.
Northern Song Dynasty, Yaozhou kilns, Shanxi Province, 11th – 12th century.

  • Formerly in the collection of The Honourable Mr. Justice Robert Tang Kwok-ching, SBS, The Xiwenguozhai Collection.
    • A similar bowl, from the Helen and Alice Colburn Fund, in the Museum of Fine Arts, Boston, is included by Jan Fontein and Wu Tung in The World’s Great Collections, Oriental Ceramics, Vol. 10, no. 156; another, in the Ashmolean Museum, Oxford, is included by Mary Tregear in Song Ceramics, Pl. 137, p. 115, where the author notes, ‘The clarity of the design, an impressed decoration of flower scrolls, shows the high technical quality of the moulded decoration from this kiln; it is often very close to a carved decoration. The decoration here is a fine example of flower scrolls, full flowers and buds, alternating around a central floral medallion’; another is included by Li Huibing in Porcelain of the Song Dynasty (I), The Complete Collection of Treasures in the Palace Museum, Beijing, volume 32, no. 115, p. 129.
    • This design has come to light on Yaozhou ware discovered at the Mid-Song layer of the Huang-baozhen kiln sites.
    • An original mould, gift of C. T. Loo, is included by Suzanne G. Valenstein in A Handbook of Chinese Ceramics, no. 74, p. 84, where the author notes, ‘A mold for Northern celadon wares (No. 74), shown with an impression taken from it, illustrates a most efficient method of shaping and decorating pottery. Damp clay was pressed against the matrix, which was carved in reverse; the mold helped to shape the vessel and also left a positive imprint of the design in relief on the inside face. After the mold was removed, the design might be touched up by hand; the potter would use a pointed instrument to correct faults in the impression or to further accent various details.’

耀州窑纏枝菊花紋小碗 北宋 十一至十二世紀 喜聞過齋舊藏


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