Ripe chestnut yellow field-yellow stone seal with handle of two Chihus

Qing dynasty (1644-1911)
Length：4.6cm
Width：4.6cm
Height：13.8cm
Weight：640g

The rectangle seal had boxy seal bottom and presented yellow color as ripe chestnut in auburn shade. There were also apparent radish veins and red veins. Mild and translucent texture formed good quality.

The seal handle performed two sitting Chihus in relationship of mother and son. Big Chihu turned around her head to the right and small Chihu looked up to the left while sitting on mother’s back. The two Chihus illustrates features of protruding eyes, side vision, spirited look, open mouth, and revealed teeth. In addition, their furcated and curled horns were combined with a string of hair backward. Forktails were close to the backside. Beard of big Chihu placed naturally down to the chest. They both had traits of hunch back, sharp claws, and powerful muscle. Vividness, mightiness and motherliness depicted the whole picture.

Bas-relief was applied on four seal sides. The top side was carved with dragon-shaped beast and Hui pattern. The lower side demonstrated a phoenix and auspicious clouds. Elaborately carving formed a lifelike picture.

Relief seal bottom expressed seven characters. “Clarion of fledgling phoenix towers over adult phoenix” It was done by Li Shangyin of Tang dynasty (618-907).

Loquat yellow field-yellow stone seal with handle of Chihu looking left rear

Qing dynasty (1644-1911)
Length：4.5cm
Width：4.5cm
Height：9cm
Weight：375g

The boxy seal was in standard shape and quality. It showed loquat yellow with some auburn shade. There were some clear radish veins. This seal was in good quality due to sleek and translucent texture.

The seal handle displayed a squatting Chihu looking left rear. The Chihu got features of muscular eyes, forward vision, spirited look, exposed teeth and open mouth with glossy ganoderma. Two forked and curled horns were combined with a string of hair and were closely toward the back. Besides, there were traits of hunch back, curled forktail, sharp claws, and powerful muscle. These traits showed a forceful, lively, and mighty image.

Low relief was used on four seal sides. A dragon-shaped beast roaming in the sky performed delicate and amusing carving.

Seven words were incised on seal bottom by relief carving. “Millions of green tussock serve as a foil to a stunning red flower” was written by Wang Anshi of Song dynasty (960-1279) in his poem, “Sing of pomegranate blossom”.

Meip’ing vase with underglaze-blue decoration of clouds and dragon

Ming dynasty(1644-1911)
Unmarked
Height: 34.6 cm
Mouth Diameter: 7 cm
Bottom Diameter: 15.1 cm
Weight: 3610 g

Small curl mouth, short neck, abundant shoulder, narrowed body, shallow foot ring, and delicate sand bottom constructed a vase with decoration of dragon, cross cloud, billows, mountain, and so on. The underglaze-blue dragon showed vigorousness and vividness among raging waves. There were also gorgeous underglaze-blue color and natural iron rust spots with silver reflection. The firm and white clay showed sleekness and moist on ware bottom.

Golden yellow field-yellow steatite seal with handle of a cluster of Chidragon

Qing dynasty (1644-1911)
Length：5cm
Width：5cm
Height：8cm
Weight：460g

Field-yellow steatite was very rare gem in the field of field-yellow stone. It was used to pay tribute to royal court in the past history.

The shape and quality of this seal was in perfect condition. There were characteristics of translucency, clarity, and glittering. It presented not only golden yellow in tangerine shade but also clear radish veins.

Three Chidragons showed animated energy and were placed evenly on seal handle. Two big ones were tangling and playing among surging clouds. The other small one was trying to take a look at big dragons amongst cloud. The whole carving demonstrated magnificent picturesqueness.

Low relief shaped a cluster of Chidragons on four seal sides. Moreover, the small Chidragon expressed four kinds of poster. The expressions were anxiety while climbing, impatience while peeking, excitement while watching, and contentment while leaving. The beautiful and exquisite carving fully expressed different taste.

Embossment applied on seal bottom with 12 words. “Unconscious of sun in motion on still water. Still moon seems to move with shifting clouds.”

Flask with four handles and underglaze-blue decoration of flower, dragon, and phoenix

Ming dynasty (1644-1911)
Unmarked
Height: 40 cm
Mouth Diameter: 7.1 cm
Bottom Diameter: 26.2 cm
Weight: 6865 g

Small mouth, curve lips, and flat rectangle body constructed a typical flask with four handles in Yuan dynasty. Natural and bold decoration performed two dragons in pursuit of pearl, chrysanthemum scrolls, double phoenixes, billows, clouds and others on ware body. Powerful and vivid dragon showed sharp three claws. Grayish underglaze-blue color presented light tone and brown iron rust spots at thick pigment area. Besides, the ware displayed bluish white glaze, loose clay, and black iron spots.

Chicken oil field-yellow stone seal with handle of lying ancient beast

Chicken oil field-yellow stone seal with handle of lying ancient beast
Qing dynasty (1644-1911)

Length：5.5cm
Width：5.5cm
Height：6.2cm
Weight：425g

This square seal was in standard shape and presented yellow color as chicken oil. There were some apparent radish veins. Uniform shade, purities, translucency and sleekness were in good quality. This was an excellent seal in delicate texture and crystalline brightness.

The handle depicted an ancient beast lying in the center. The beast was facing backward and possessed traits of bright eyes, open mouth, bushy beard, and forked horns. The hair was curled toward the back and close to body. It also had hunch back and two curled tails. The beast performed lifelike image.

Three seal sides were incised with sentences. The front side contained 28 characters from “Writing Jinling crossing” by Zhang Hu of Tang dynasty. “Harboring in Jinling ferry and staying overnight in hill hall with a sorrowful heart. The moon shines over the tidal waves while looking lights in the opposite bank.” Moreover, other side was inscribed with “Good bye poem” by Zhang Rong of Southern dynasties (420-589). The twenty-character verse described meaning as below. “White clouds are evanescing over the mountain. Fresh wind is blowing through the pine trees. There are too many sorrows to bear your parting. At last, only a sole fellow stays and looks the bright moon.” The other side was engraved with date in seven characters.

The relief seal bottom illustrated 14 words from Preface of holy religion compiled by Huairen in Tang dynasty (618-907). The sentence illustrated “Refreshing writing paints the world color. Literary classic resounds by inscription.”

The Procedure of Chinese Antique Appraisal by dcl-CARD

Antiques manifested cultural and aesthetic essence. It possessed value for appreciation, collection, and research in virtue of rarity. For a start, visual appraisal was basic step to evaluate every feature of antiques by personal expertise. More importantly, favorable scientific appraisal played a role of analyzing character of antique material by technical instruments.


I. Examination and comparison of antique craftsmanship:

Antiques was valuated visually and compared with database on the basis of ware form, decoration, pigment, glaze, clay and reign mark.

II. Favorable scientific appraisal :

Antiques was valuated by micrograph and compared with database on account of pigment, glaze, clay and glaze bubbles.

III. 16 steps of antique appraisal:

A. Craftsmanship appraisal by visual appraisal and library database:

(1)Ware form: Each era had distinct ware form in favor. Database of ware form helped defining era of production.

(2) Volume / Weight: Every period designed ware in different thickness. For instance, ware from Yuan dynasty performed heavy and thick style and ware from Ming and Qing dynasties tended to be lighter design.

(3) Decoration: decoration features were crucial to division of history into periods. The drawing and style varied to fit in with changes of dynasties. Specific decoration in specific period was filed in decoration database.

(4) Reign mark: There were several antiques with reign mark which was compared to prove genuineness.

(5) Glaze Color: When there is no ash, there is no glaze. Ash had direct influence on glaze color in grayish, bluish, or whitish tone in terms of ash amount, plant ash, or mineral ash. For example, underglaze-blue porcelains of Ming dynasty presented stable glaze color and those from Qing dynasty presented bright translucency.

(6) Glaze Quality: Glaze exquisiteness, glaze thickness, orange peel effect, or sand hole was one of features for distinguishing antique era.

(7) Trimming: Trimming of ware and its foot ring varied in distinct dynasty. Taking example from Yuan dynasty, large ware was jointed without much trimming. Meticulous trimming and no scraping mark were peculiar to Ming and Qing dynasty.

(8) Clay Color: Diverse formula of clay material existed in distinct kiln, region, and period. Thus, fired porcelains presented diversified clay color as like yellow, gray, and white.

(9) Clay Quality: Clay panning affected degree of exquisiteness. Citing an instance for clay in Yuan dynasty, it was less refined than that of Ming dynasty. By contrast, the clay of Ming dynasty had firmer texture and fewer air holes and impurities than that of Yuan dynasty.

(10) Iron Rust Spots: Iron rust spots were produced by pigment of underglaze-blue porcelains that contained cobalt oxide. The pigment in used of coloring agent was generally divided into local pigment and imported pigment. After firing the porcelains, imported pigment produced iron rust spots with silver reflection due to high amount of ferric oxide. On the other hand, local pigment didn’t produce iron rust spots. Appraising antique included to compare information and photos of iron rust spots on underglaze-blue porcelains in every period.

B. Favorable scientific appraisal by technical examination and data comparison:

(11) Magnification of pigment, glaze, clay, and glaze bubbles: Database had stored up magnification of porcelains from each period on pigment, glaze, and clay by magnifying power of 10X to 200X.

(12) Color spectrum: Spectrum analysis assisted to calculate era of porcelain.

(13) Fluorescent reflection: fluorescent reflection helps to distinguish between antique porcelain and new porcelain.

C. Shard appraisal and analysis by technical examination and library database

(14) Clay
(15) Pigment
(16) Glaze Material


※ Element analysis was measured by Model JSM-6360 in the TA-I Technology Co., Ltd.


Conclusion：

Above are brief illustration of porcelain appraisal by dcl-CARD, whose antique appraisal requires not only visual appraisal but also scientific techniques. dcl-CARD is trying to build database system for comparing all the information. The more complete the database becomes, the more efficient antique appraisal reaches.

Covered jade bottle with two handles and motif of lotus scrolls

Qing dynasty (1644-1911)

Hotan white jade in Xinjiang province.（Hindustan ware）

Height: 27.9 cm

Width: 11. 2 cm

Weight: 745 g

Hardness: 6.5

This precious compressed bottle adopted Hotan white jade from Xinjiang province. It possessed the style of Hindustan ware in Qing dynasty and held the pattern of south Asia overspread the entire form, motif, and carving skill.

Hindustan was a place name in northern region of India. Emperor Qianlong of Qing dynasty fascinated its elegant clemency; therefore substantial jade wares in good quality from India and Turkey were passed to Xinjiang province in China and paid tribute to Forbidden City in Beijing.

On the basis of “History of Qing dynasty – biography of concubine”, 214th volume stated that emperor Qianlong married a noble girl from Uyghur clan in the 18th century. She was called Rong concubine from Hezhuo family and was the daughter of Hezhalai whose title was Taiji. It was said that she naturally exuded a strong fragrance and was called fragrant concubine. In virtue of this marriage, blend of eastern and western culture entered China through abundant Islamic artifacts.

The oval-shaped bottle mouth followed with straight neck and broad bottom. Tall and flared foot was a hollow cylinder with oval foot ring. The ware apparel was decorated with lotus scrolls in low relief. The lotus showed pointy petal with multiple layers and conjoint leaf scrolls. The two handle on both sides presented leaf scrolls in S shape. The lid with bud-shaped button was embellished with a circuit of flower and leaf patterns. All the decorative patterns displayed symmetry and meticulous refinement in style of Islamic feature.

The jade bottle was carved with Hotan white jade from Xinjiang province. It has hardness of 6.5, specific gravity of 2.90 to 3.02, and average refractive index of 1.62. The white jade presented exquisite texture, milky white in little bluish tone, and partial small black spots. Besides, yellowish brown spot glorified the pure white jade.

Low relief was applied on vivid motif of this ware. The lotus was designed with concave petal. Handles on both sides used open work. This ware revealed subtle crafts in every corner. Emperor Qianlong had a saying about his favor of the delicate skill of Hindustan jade ware. “Sophisticated craftsmanship of Hindustan jade ware is superior to those from Suzhou in China”

The magnification demonstrated well polishing. The tool mark of lotus petal was in alignment that answered to ancient handicraft. The intaglio line of leaf scrolls showed no broken lines by multiple carving strokes and marks of handmade trimming on the surrounding.

Loquat yellow field-yellow stone seal with handle of Chihu looking right rear

Qing dynasty (1644-1911)
Length：4.7cm
Width：4.7cm
Height：8.5cm
Weight：290g

The square seal showed yellow color like loquat and had some radish veins under auburn shade. This smooth and crystalline texture constructed an extraordinary artwork.

The handle was shaped as a sitting Chihu turning the head to the right. The Chihu looked forward with bright eyes and opened mouth with revealed teeth. It held a string of antique coins with the mouth. Two forked and curled horns were combined with a string of hair and were closely toward the back. Besides, there were traits of hunch back, curled forktail, sharp claws, and powerful muscle. All of these displayed a forceful, lively, and mighty image.

Four seal sides applied low relief that depicted a pair of auspicious dragon encircling “longevity” amongst cloud sea. The exquisite carving expressed amusing taste.

Seal bottom was carved with seven characters by embossment. The sentence meant “Blossom occurs all over the city in springtime” and was from “The day of No fire” by Han Hong in Tang dynasty (618-907).

Opinion of antique appraisal system

http://www.my3q.com/home2/199/dclcard/75746.phtml

Stem bowl with underglaze-blue decoration of double phoenixes among lotus

Ming dynasty(1644-1911),

Xuan-de reign mark.

Height：12.9 cm

Mouth Diameter：9.8 cm

Bottom Diameter：5 cm

Weight：195 g

This exterior stem bowl with flared rim and cannular bottom was painted with two phoenixes among lotus scrolls and “Hui” decoration by imported pigment. In the center of inner bowl, there was six-character script of Da Ming Xuan De Nian Zhi (made in the reign of Xuan-de in Ming dynasty) surrounded by two rings. Dense underglaze-blue color contained many blackish and greenish brown spots at diffused area. There were visible air bubbles and pinholes on white glaze. Flint-red marks in light Chinese red presented at the area of unglazed clay that was exquisite white.

Roast red field-yellow stone seal with handle of ancient beast

Qing dynasty (1644-1911)
Length：5.9cm
Width：5.9cm
Height：7cm
Weight：540g

The square seal in standard shape appeared claret orange appearance and light yellow inner. Crystalline and delicate texture carried obvious radish veins and orange peel veins.

The seal handle was designed as an ancient beast crouching in the seal center. The beast had characteristics of open round eyes, revealed teeth, backward ears close to the body, and hunched back. Meticulous carving illustrated lively and muscular body and limbs.

Four tools of power owns by eight immortals were carved on four sides of seal. The fan of Zhongli Quan could revive the dead. The fish drum of elder Zhang Guo could practice divination. The gourd bottle of Iron-clutch Li could give relief to all living creatures. The flute of philosopher Han Xiang could breed life.

Embossment was applied on the seal bottom. Fourteen characters described meaning as below. “Convivial spirit as floating clouds. Clear wisdom as flowing water.”

Pigment Study of antiqued underglaze-blue porcelain in Qing dynasty

I. Introduction

Modeling after an antique prevailed in Qing dynasty (1644-1911), particularly in the reign of Yongzheng (1723-1735) and Qianlong (1736-1795). Those antiqued porcelains have been auctioned in high price on auction market. Nevertheless, there was a misconception about pigment of underglaze-blue porcelain in Qing dynasty. Thus, relevant information was collected to clear up the misconception.

II. Doubt about pigment of underglaze-blue porcelain in Qing dynasty

Antiqued underglaze-blue porcelain in Qing dynasty modeled after underglaze-blue porcelains in Yuan and Ming dynasties that were characteristic of iron rust spots by imported pigment. The unique and imported pigment performed underglaze-blue pattern with sunken pigment and silver reflection of iron rust spots. Why did antiqued underglaze-blue porcelain in Qing dynasty have similar effect as iron rust spots? Was pigment with high concentration of iron applied to antiqued porcelains in Qing dynasty?

III. Illustration of pigment of underglaze-blue porcelain in Qing dynasty by reference

A. In the Kangxi period of Qing dynasty (1736-1795), local pigment applied to underglaze-blue porcelain presented bright blue. Antiqued porcelains in the style of Yongle (1403-1424) and Xuande (1426-1435) period presented black spots owing to accumulation of local pigment by repeatedly painting. Hence, black spots didn’t naturally cause by pigment with high amount of iron and differed from silver reflection by iron rust spots in Yongle and Xuande period.

(Reference: Li, Hui-bing. Appraisement Foundations of Chinese Porcelain, Beijing: Forbidden City, 2001, p.230.)

B. In the Yongzheng period (1723-1735), local pigment was continually applied to antiqued underglaze-blue porcelains. The antiqued porcelain in the style of Yongle and Xuande period performed imported pigment Su-ma-li blue by piling up dark paint in order to display black spots and diffusion of pigment, yet lacked for natural and sunken effect.

(Reference: Zhang, Hong-wei. Ancient Chinese Ceramics Research, Vol. 10, Beijing: Forbidden City, 2004, 164-165)

C. During Yongzheng (1723-1735) and Qianlong (1736-1795) period, underglaze-blue porcelains was fired in the style of Yongle and Xuande period. Artificial black spots were caused by adding paint. The black spots were different from natural black iron rust spots that were embedded into clay and caused by pigment with high amount of iron in Yongle and Xuande period.

(Reference: Yan, Dong-mei. Introduction of Chinese Porcelain -Chinese Porcelain from Ming and Qing Dynasties, Taipei: Art Book, Sep. 2000, 54-55)

D. Underglaze-blue porcelain in Qianlong period also used local pigment as same as previous period, Yongzheng period. The skill of using local pigment advanced. Antiqued underglaze-blue porcelains in the style of Yongle and Xuande period performed blue pattern with large amount of black spots. However, the black spots differed from natural spots by imported Su-ma-li blue. The antiqued pattern was artificially done by dotting dark paint, so black spots lacked of sunken and uneven effect.

(Reference: Ma, Xi-gui. Chinese Blue and White Porcelain, Shanghai: Shanghai Gu Ji, 1999, 250-251)

IV. Conclusion

A. There was no reference stated that iron was added to pigment of antiqued underglaze-blue porcelain in Qing dynasty. The antiqued porcelains usually used local pigment with high concentration of Manganese and low concentration of iron. The pigment was from Zhejiang province in China and was the main pigment for underglaze-blue porcelains in imperial kiln of Jingdezhen from middle period of Wangli reign (1573-1620) in Ming dynasty to Qing dynasty(1644-1911). Pigment effect like black spots and diffusion was accumulated by dotting dark paint artificially.

B. Sunken pigment and silver reflection of iron rust spots were not supposed to happen on underglaze-blue porcelains in Qing dynasty.

Pair bowls with famille rose decoration of flowers

Yong-zheng reign of Qing dynasty (1723-1735)
Remark: underglaze-blue regular script -Da-qing-yong-zheng-nian-zhi
(made in Yong-zheng reign of Qing dynasty)

Height：6/5.9cm

Mouth Diameter：10.3/10.1 cm

Bottom Diameter：4.4/4.3 cm

Weight：115/120g

Arc mouth, deep belly and foot ring composed a pair of bowl whose exterior wall was beautified with China rose of three colors. The China roses are in bud or blooming with small thorns in stem. Interior bowl bottom was decorated with some small fruits which are exquisite and lovely. This bow possessed heavy shape and also called “Dun-shi Bowl”.

Pure white glaze reflected light bluish white by the light. Delicate clay showed sleek touch in unglazed foot ring area. The external bowl bottom was written with six Chinese characters, Da-qing-yong-zheng-nian-zhi, in the center of two rings. Porcelains with famille rose decoration from Yong-zheng reign regarded for elegant contour, graceful color, and changeful posture of petals and leaves.

Screen stand with design of Kurukulle

Qing dynasty (1644-1911)

Yellow jade from Hotan

Height：44 cm

Width：25 cm

Hardness： 6.5.
(Enclosed certificate of FTIR scanning)

This wooden screen stand with marvelous carving showed flame-shaped rim and base with open work of double dragons in pursuit of pearl. It not only expressed amusing taste but symbol of exorcising evil spirits or praying for blessings. The center of screen was mounted with whole piece of precious yellow jade from Hotan in embossment. The translucent jade with moistness was in good quality and had been identified by FTIR scanning.

Hotan jade from Xinjiang province is a very rare jade. It has hardness of 6­ to 6.5, specific gravity of 2.80 to 3.10, refractive index of 1.61 to 1.63, and birefringence of 0.027. Moreover, there were magnificent features, comprising exquisite quality, top tenacity, hardly break, and abrasion resistance. The mild luster and clear translucency strengthen the great value of Hotan jade. Based on classification of the Hotan jade, yellow jade was much rare even through thousands of years. The value of yellow jade was competed with the best jade, lanolin white jade.

The embossment of yellow jade performed a unique female Buddha of Tibetan Buddhism, Kurukulle. She represented authority, power, and wisdom. Kurukulle was a dominant image and presented remarkable example of Buddhist devotional art. According to Tibetan Buddhism, practicing teachings of Kurukulle was able to enlighten wisdom, increase abundance of wealth, enlarge power, and etc. It was heard that the respectful emperor Qianlong used to practice the teachings.

Ripe chestnut yellow field-yellow stone seal with handle of lion head

Qing dynasty (1644-1911)

Length：7cm

Width：7cm

Height：8cm

Weight：830g

This square seal showed ripe chestnut yellow in brownish red and the texture carried yellow in dark auburn. There were apparent radish veins and orange peel veins under light.

In the center of seal, there was a lion head facing upward. The lion had traits of open round eyes, open mouth, revealed teeth, and a ring in the mouth. Lively muscle fully demonstrated in the lion face and a loop of pearl gave a lining to hair on the neck. The whole lifelike style developed mighty and vigorous manner.

Four sides of seal were engraved with four tools of power by eight immortals. The fan of Zhongli Quan could revive the dead. The fish drum of elder Zhang Guo could practice divination. The gourd bottle of Iron-clutch Li could give relief to all living creatures. The flute of philosopher Han Xiang could breed life.

The seal bottom was applied with relief carving. Twelve characters from right to left were illustrated as follows. “Natural chasm can be leaped over by flying body. High peak can be conquered by vigorous steps.

These twelve characters had been used by Hu Yao-bang, who is the leader of China as secretary general. He inscribed those words in his own handwriting in Luding bridge of Luding county in Sichuan province in 1985. The purpose was to praise Red army highly and commemorated their former glory.

Covered meip’ing vase with underglaze-blue decoration of clouds and dragon

Yuan dynasty (1279-1368)

Unmarked

Height：14.3 cm

Mouth Diameter：55 cm

Bottom Diameter：17.7 cm

Weight：4310 g

Small mouth, rich shoulder, and slender waist constructed an elegant and animated vase with covered lid of bud handle. The covered lid was painted with decoration of Ruyi clouds and the body was decorated with a dragon roaming amongst cloud. The dragon demonstrated mighty, bold, and lifelike image. This vase had features of clear white glaze, slightly grayish blue, irregular iron rust spots, and penetrating spots of blue.

Chicken yellow field-yellow stone seal with handle of ancient beast looking back

Qing dynasty (1644-1911)

Length：4.5cm

Width：4.5cm

Height：9.2cm

Weight：370g

The square seal presented yellow color as chicken oil and carried obvious radish veins and red veins. Uniform shade, clarity, translucency, sleekness, mildness, and exquisiteness constructed distinct piece in great quality.

The seal handle was designed as an ancient beast sitting in the middle and looking backward. The muscular eyes were bright and piercing. The nose was big and protruding. The mouth was slight open and revealed teeth. Animated and forceful image was supported by strong muscle, grossness, hunch back, and tail adjoining to the body.

Two seal sides were inscribed with 60 characters from a verse, “To Li Dan (Yuan Xi)”, by Wei Ying-wu of Tang dynasty (618-907).

“Adieu at the blossom time last year. Now is likewise in bloom a year later. There are countless uncertainties to figure on. Only spring sadness accompanies me to sleep. Illness gives rise to homesickness. Refugees under my jurisdiction fill me with guilt. Hear of paying your visit to me, yet several rounds of full moon had passed over west chamber.”

Relief characters on seal bottom states meaning as following. “A heavy mist arises from the lake and descending moonlight slants through the trees.” The 10 characters were from a verse in Tang dynasty (618-907), Spring boating on Ruoye lake, by Qi wu-qian.