Opinion of antique appraisal system

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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.

Jade brush pot with sculpture of landscape and figures

Qing dynasty (1644-1911)
Bluish white jade from Hotan of Xinjiang province

Width: 11 cm

Height: 16.4 cm

Weight: 1535 g.

The oval brush pot used bluish white jade from Hotan area in Xinjiang province and applied delicate embossment of landscapeand figure. This article displayed clear translucency, graceful taste, amusing expression, and enjoyment.

The brush pot was a compressed cylinder. It had oval mouth, flat bottom, margins on top and bottom outside. Full view of fantastic embossment was presented on exterior pot.

The carving depicted living departing scenery. A man riding a horse stopped on the bridge above the stream and was looking back. In front of the man, his pageboy was leading the road and carried roads with carrying pole. In back of the man, there was a woman standing on the stairs end to a pavilion. The woman put her palms together and prayed for blessings.

On the other side of scenery, landscape was consisted of mountainous stones, pavilion, pine trees, and wonderful outlook. A kid was playing flute and sitting on the back of a cattle. The other kid was holding a lotus leaf overhead and dragging the cattle with a rope. Overall, the carving fully expressed exquisite skill and vivid scenery.

Foliated bowl with underglaze-red decoration of dragon

Ming dynasty(1644-1911)

Unmarked

Height：9.9cm

Mouth Diameter：20.5cm

Bottom Diameter：8.6 cm

Weight：630 g

The bowl had characteristics of arc mouth, deep curve wall, and foliated contour. It was shaped by pressing mold after throwing the clay. The outer wall was decorated with dragon amongst clouds. The mouth and foot ring were decorated with eight red lines. The center of interior bowl was adorned with two layers of cloud. Bluish white glaze showed thick glaze and tiny air holes at thick glazed area. Exquisite clay presented high level of vitrification and clear whiteness.

Between late Ming dynasty (1368-1644) and early Qing dynasty (1644-1911)

Lanolin white nephrite from Hotan.

Length: 24cm

Width: 22 cm

Height: 86 cm

Hardness：6.5

Hotan jade is situated the first place of Chinese jade. Hotan jade possessed mild and moist luster with glorified translucency, so held high value on the market. The tenacity bolstered meticulous carving fluently and distinctly.

Lanolin white jade was called due to its milky white color as lanolin and presented exquisite texture in sleekness. Lanolin white jade is the most precious breed among Hotan jades and is called king of all nephrite. It is scare and only from Hotan area in Xinjiang province.

Lanolin white jade was main material of this Buddha and fully gilded with gold. The Buddha displayed crystalline mildness, gentle exquisiteness, milky shade, and snowy whiteness. It performed imposing holiness. The Buddha featured by slender shape, bared feet on lotus base, noble crown, and orderly hair in tower-shaped bun. Demure light shined tenderly from the dainty face and downcast eyes. A white mole denominated “Baihao” placed in the middle of forehead. Delicate carving depicted facial features, such nose, lips, and ears. The perfectly chubby face softened with a light smile. The ears bore round floral earrings. Three rings were carved around the neck. Low relief shaped brief necklace of precious stones on the chest.

The long silk ribbon hung around the shoulder and was warped at the end. Each hand carried one “Chuan” (bracelet). Right hand cast down and left hand placed in front of chest uprightly. Both hands posed mudra, the symbolic gesture in Buddhist art. A skirt covered lower part of the body and tied a knot in front of the waist. The gather of cloth placed easily and smoothly as fishtail over lotus base.

It was scare to have gold-gilded jade with design of Tibetan Buddha in late Ming and early Qing dynasty. It not only applied Hotan jade but also techniques of relief, open work, and round carving. Well-executed skill and multiple skills on same ware fitted in with craftsmanship in mid-late period of Ming dynasty. Besides, the magnification displayed jade surface in exquisite quality and invisible polishing. The meticulous craft tallied with craft in Qing dynasty. It also demonstrated carving skill of Ming dynasty which had tailored and sturdy mark like intaglio lines in V shape. After all, this Buddha contained craftsmanship of Ming and Qing dynasties.

Gilding applied material like gold foil or gold mud that was mixture of gold and mercury. After applying gilding to embellish the ware surface, agate or jadeite were repeatedly pressed on the surface for smoothing and glazing the ware. In the early Qing dynasty, the court enacted mining ordinance about forbidding mining of gold and silver. Thus, the gold-gilded Buddha contained much amount of copper components and presented reddish golden color. Under the influence of environmental effects over three hundred years, the gilded gold showed rust marks in blue and green colors. Owing to aged time, the rusts penetrated into the inner directly and firmly.

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

Qing dynasty (1644-1911)

Length：7cm

Width：7cm

Height：8cm

Weight：815g

The seal equipped with standard shape and quality. Outer was in claret orange and inner was light yellow. Clear and exquisite texture appeared obvious radish veins and orange peel veins closely.

The seal handle depicted an ancient beast crouching in the center of seal. It had attributes of open round eyes, revealed teeth, and backward ears. Beast horns on the head were like deer horns and adjoined the body. The whole body and limbs showed carving of fish scales. Animated and delicate carving performed lifelike and majestic image.

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.

Relief on seal bottom demonstrated 12 characters. “Cultivating mild conducts little desire. Gaining new insights through restudying old material.” It sourced from moral chapter in treasury of couplets.

Covered Meip’ing vase with underglaze red decoration of pine, bamboo, and plum

Ming dynasty(1644-1911)

Unmarked

Height：43.9cm

Mouth Diameter：6.1 cm

Bottom Diameter：12.9 cm

Weight：3805 g

This vase consisted of small mouth, round shoulder, foot ring, and cover with design of bud that contains a straight tube in the interior center. The bud button was painted with decoration of lotus petal and the outer lid was painted with diamond shapes and peony sprays. From top to bottom, the vase was adorned with plantain leaves, leaf scrolls, chrysanthemum scrolls, pine tree, bamboo and plum blossom, billows, and lotus petals. The underglaze red showed blackish red and partial vanished lines, but presented pure color and distinct feature. Moist glaze displayed bluish tone and grayish white clay contained some impurities. This ware with heavy clay showed exquisite touch.

Ancient white jade with design of auspicious deer holding Lingzhi

Yuan (1279-1368) and Ming (1279-1644) dynasties

White jade from Hotan.

Length: 32.3cm

Width: 7.7cm

Height: 22.1cm

Weight: 4230g.

The round carving (alto-rilievo) formed a deer in the process of standing. The deer had muscular legs that one hind leg in crouching and the other in extending. It also had traits of leaning forward body, plump chest, a pair of long antlers connected endways, long sturdy neck, and downward tail close to hips. he jade deer showed forward eyesight and guttiform eyes with upward canthus. The deer that was holding Lingzhi with the mouth. It also had two shallow nostrils, open mouth, revealed neat teeth, and upright ears. This distinct jade in three dimensions demonstrated natural, powerful, and lively style.

Deer was regarded as lucky animal and auspiciousness by the ancients. Lingzhi (Ganoderma lucidum) had been considered as symbol of luck and longevity since ancient time. Then, deer mouth with Lingzhi had meaning of happiness, prosperity, longevity, and luck.

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

Qing dynasty (1644-1911)

Length：4cm

Width：4cm

Height：9.8cm

Weight：315g

This boxy seal presented yellow color as chicken oil and contained apparent radish veins and red veins. It also possessed uniform shade, clarity, translucency, and high sleekness. The seal held pleased characteristics of crystalline mildness and golden luster.

Seal handle depicted an ancient beast sitting in the center, and featured by head up, chest out, looking forward, and exposed teeth. Two curled horns on the head were toward the back. Besides, the beast had hunch back, abundant muscle, forceful image, and powerful body.

A verse by Xie Ling-yun of Song dynasty (960-1279), “composing on the lake about returning to the retreat at stone cliff”, was inscribed on three seal sides. The verse was interpreted as below.

“Changeful landscape from dawn to dust accrues splendid and enchanting beauty that fascinates returning roamer. After walking out of dale, daylight is becoming dusk while entering a boat. The night falls over the valley and sunset clouds glows in the sky. Under the reflection of sunglow on the lake, lotus leaves shine in clusters and lakeside plants flicker by waves. Departing from the boat and dashing through grass-grown path toward the south. Then, rest in the eastern chamber with pleasure. After all, contenting with quietism and unworldly mind returns oneself to nature. The truth to the way of happy-go-lucky life is worth trying and recommended.”

Seven-character embossment was engraved on the seal bottom. The sentence was from “Spring in jade pavilion”, a famous verse in Song dynasty (960-1279) by Song Qi. The meaning was detaining sunglow within flowering shrubs.

Golden yellow field-yellow steatite seal with dragon handle

Qing dynasty (1644-1911)

Length：6.7cm

Width：6.7cm

Height：7.1cm

Weight：725g

Field-yellow steatites were top of the line among field-yellow stones and used for paying tribute to royal house in Chinese history.

This square seal with design of auspicious dragon spewing pearl was in good quality and shape. The stone skin was slightly transparent and the texture was clearly glittering. Inner radish veins and orange peel veins appeared in outer layer of stone skin.


The dragon handle showed crouching dragon over clouds. The auspicious dragon was characterized by round and open eyes, revealed teeth, and open mouth. Besides, a fire pearl emerged out of dragon mouth. The hair was emitting overhead and dragon whisker was floating in the wind. The dragon performed vividness and august image.

Four sides of the seal were carved with dragon pattern that showed a walking dragon with chin up and chest out.

Chinese people believed the auspiciousness and boldness of dragon bring strengthened power, such as keeping away from villain, calling angels, and obtaining wealth.

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.

Ancient white jade with design of monkey on horse back.

Lanolin white jade from Hotan

Early Qing dynasty (1644-1911)

Length: 21.5 cm

Width: 9.4 cm

Height: 15.3 cm

Weight: 3030 g.

(Enclosed with certificate of FTIR scanning)

Lanolin white jade presented creamy whiteness, delicate quality, and mild sleekness. It was the most precious breed among white jade from Hotan and regarded as king of nephrite.

This ancient white jade presented a crouching horse facing back. The horse had trait of upright ears. Four strong legs showed that one left foreleg stepped on floor and other three legs lied under the belly. The long tail on right side of the body was in curve. There was a monkey standing on the horse back. The horse and monkey applied tube boring method for round eyes which has upward canthus. The horse had open mouth and revealed teeth. It seemed like talking to the monkey. The vivid sculpture fully expressed amusing taste.

“Monkey on horse back” in Chinese was a common subject for jade carving and means blessing upon official success.

This sculpture adopted carving methods, such as round carving (Alto-rilievo), relief, openwork carving, and intaglio carving. The horse eyes used tube boring and pared by handiwork. The horse mane was carved with tiny and order intaglio lines. Base-relief carving skill was applied on neck and legs, and performs vivid muscle.

(Magnification of ooze-color and calcification at horse mane)