Huahui Zhongyi Spring Auction
Preview time
May 10-16
Auction time
May 16
10:00 AM Chinese Painting and Calligraphy Session
14:00 PM Ceramics Session
Exhibition location
5th floor, Huahui Building
(No. 388, North Garden Road, Gaobeidian, Chaoyang District, Beijing)
The ultimate beauty is natural.
Monochrome glazed ceramic has a very important position in the history of our country's ceramic development. It is a shining pearl in the crown of ceramic art and has always been regarded as the "mother of colored ceramics." It is also considered to be the highest level of ceramic collection due to its natural beauty. There are two main types of decorative methods in Chinese ceramics: the first type is painting decoration, which is the decorative method of painting various patterns on ceramics. Such as famille rose, bucket color, and enamel all belong to this category. The other type is glaze decoration, which is a decorative method that reflects ceramics’ glory through the color of the glaze itself, and monochromatic glaze is the most representative decorative methods. The earliest glaze was actually a transparent with no color. If different metal oxides are added to the transparent glaze, and prepared appropriate temperature and atmosphere in the kiln, it can be fired into ceramics with different colored glazes. For example, adding iron oxide can make brown and black glaze, adding copper oxide can make red and green glaze, adding cobalt oxide can make blue glaze of the celadon. Because the monochromatic glaze removed colored painting, the requirements for the shape and glaze color are greatly improved. There is a saying that "monochrome glaze is the highest state of ceramics collection". From the historical perspective of emperors and literati who favored monochromatic glaze, we can indeed find that the higher the aesthetics, the greater the preference for monochromatic glaze. Monochrome glaze is not only the highest state of aesthetics and collection, but also the highest state of ceramics firing method. A pleasing monochromatic glaze is often something you can meet but not ask for.
This spring auction brought together a number of exquisite monochromatic glaze lots, as well as a few official kiln artifacts, which are indeed an excellent collection.
Artwork Appreciation
LOT 9057
Qianlong Period, Qing Dynasty
AN APPLE-GREEN GLAZED GARLICHEAD VASE WITH STAND
H: 15cm
Description: With base
The mouth of the bottle is introverted and bulged to make a mouth like garlic, then with a long neck and straight mouth, sloping shoulders, pear-shaped round abdomen, and outer ring feet. The shape of the vessel is beautiful and decorous. The body texture is delicate and firm, with apple green glaze applied to the whole body, the glaze is thick and delicate, and it is as shiny as jade. Watching and appreciating, reveals the feeling of red clouds are all over the sky, and the cloud shape changes are endless, and the palace charm is in front of you. The underglaze is like ice cracks, which is extremely uniform and elegant, rippling with graceful and subtle atmosphere. The three-line six-character seal script on the bottom of the blue and white calligraphy of the “Daqing Qianlong Years” is sparsely spaced, and the atmosphere is stable.
LOT 9058
Guangxu Period, Qing Dynasty
A PEACOCK-BLUE GLAZED VASE WITH ELEPHANT NOSE AND DESIGN OF LANDSCAPE
H: 22cm
Description: Cooperation between Wang Bingrong and Chen Guozhi
Jingdezhen began to use malachite green glaze on ceramics in the Yuan Dynasty, and it was successfully fired at Yongle period in the Ming Dynasty, followed by firing in the Qing Dynasty, especially during the Kangxi and Qianlong Dynasties. It is rare after the Qianlong Dynasty. The malachite green glaze in the Qing Dynasty was mostly used for sacrificial vessels and furnishings, with higher specifications, and because of the looser combination of the glaze and body, there were fewer complete handed down products.
The appearance of this vessel is intact and has been passed down to this day. It is really not easy. It also has the ancient charm of the style and decoration. It also shows the unique charm of the collector and is a rare collection. Wang Bingrong, a famous ceramic carving artist in Jingdezhen during the Daoguang period, was good at making stationery utensils. His works are meticulous in craftsmanship, and the decorative subjects are based on traditional Chinese paintings. They are widely welcomed by people of the time. They are in the collections of the Palace Museum in Beijing and Taipei, which can be used as reference. Chen Guozhi, a famous ceramic carver in Jingdezhen from Daoguang to Xianfeng, from Qimen, Anhui. He also combined ceramics carvings with glazes, imitating bamboo, wood, and ivory, all of which are equipped with a vivid look, with a strong artistic atmosphere. This bottle is an excellent combination of carving skills and seals, poetry, calligraphy and painting. Whether it is the peacock feathers or plum branches, it is exquisitely carved and lifelike. It is a delicate work of Chen Guozhi's ceramic carving.
LOT 9039
Republic of China
A FLAMBE GLAZED GARLIC-HEAD VASE
H: 33cm
This bottle with a head like garlic, slender neck, shaved shoulders, plump abdomen, and ringed feet. The shape of the vessel is dignified and generous, the neck is upright and super-drawn, the lines are delicate and smooth, and it is full of up towards movement feeling. The whole body is decorated with kiln changed glaze, and the glaze is bright and eye-catching, clever as natural, full of fun, and the charm of Song Jun glaze is so wonderful. The emperors of the prosperous period of the Qing Dynasty were concerned about the color glaze. Among the various color glazes fired by the imperial kilns in the Qianlong period, the most common ones were Jihong and Jilan, and the firing technology was relatively stable. However, due to the difficulty of firing, the kiln changed glaze is quite rare.
The quaint and majestic shape of this product is soft and delicate, which shows the designer's unique ingenuity. It is a testimony of the Qing Dynasty art works reaches to the peak. The potter is well versed in the matching of glaze and shape, and is aimed at matching different types of vessels with the corresponding glaze color. The shape of this product and these glazes are like a match made in heaven. The two complement each other, which not only sets off the simple and dignified shape, but also highlights the soft and elegant glaze. The subtlety of the glaze color configuration could not be founded in other’s works.
LOT 9053
Kangxi Period, Qing Dynasty
A YELLOW GLAZED DAISY-SHAPED DISH WITH DESIGN OF DRAGON
D: 20cm
This kind of yellow-glazed plate was the only royal used utensils of the Ming Dynasty. Yellow-glazed ceramic has always been a special color for emperors. The pure yellow glaze on ceramic began in the Yongle period of the Ming Dynasty, and it was fired in every dynasty. It was a special ceramic for the Ming and Qing courts and was never allowed to be used by the normal people. This product is full of delicate yellow glaze, crystal clear, rich in color, regular and generous in shape. White glaze on the bottom, regular script "Daqing Kangxi Year " in blue and white inside the double circle. The words are dignified and neat, with a vigorous and beautiful feelings hidden inside them.
"Tong Dian" notes: " Yellow is the natural color of the earth, and it has never been changed. This color represents the beauty of "Virtue of Heaven", that is, the beauty of "neutralization", so it becomes a respectable color, symbolizing the supreme imperial power and lofty status. " And because of the Chinese character’s pronunciation "yellow" and "emperor" is the same, it can be seen that the status of yellow-glazed ceramic is noble.
The yellow glaze of Ming Dynasty is also the most famous in the Hongzhi period. This yellow glaze plate is the representative work of inheriting the Hongzhi yellow glaze ceramics. Its glaze texture is warm and delicate, the color is even and elegant, and it is like amber, moist and delicate. In addition, the ceramics we handed down, the Zhengde yellow glaze wares are more rarely than those of Hongzhi. It can be seen that a few yellow-glazed ceramics of this period were given to other countries as national gifts. See the examples of the two Zhengde bowls. They belong to the Ottoman royal collection. The existing Topkapi Palace, Istanbul, is written by Kang Ruijun, "Chinese Ceramics" in the Topkapi Saray Museum, London, 1986, volume 2, color illustrated 775. This kind of yellow-glazed plate work has been treasured by public and private collections of past dynasties for nearly a hundred years. One example can be seen in the collection of the Palace Museum in Beijing, "Complete Collection of Treasures in the Palace Museum. Color Glaze, 1999, pl. 41; see another example, from the collection of Sir David Wade, now in the British Museum. Koger Collection, see John Ayers, "Chinese Ceramics: The Koger Collection", London, 1985, pl. 69, for reference.
LOT 9046
Qianlong Period, Qing Dynasty
A PAIR OF TEADUST GLAZED DISHES
D: 27.5cm
According to the records of the Qing palace, Emperor Qianlong had repeatedly decree to produce the glazed ceramics and enquire the production procedure of the factory, which shows his love and attention to this variety. This variety is more common in large works such as bottles and big bottles, and the shape of plates and bowls is extremely rare. The ceramic body bones of this product are firm, the disc shape is regular, and the body is repaired. The whole body is covered with tea powder glaze. The glaze is quiet and elegant mixed with dark brown spots. The color is solemn and calm, and the charm is unique.
LOT 9042
Qing Dynasty
A SQUARE SKY-BLUE-GLAZED TUBE SHAPED VASE
H: 26cm
The sky blue glaze in this lot is a high-temperature glaze created in the Jingdezhen imperial kiln during the Kangxi period of the Qing Dynasty. During the Yongzheng period, the firing technology of sky blue glaze became more perfect, the color was elegant and the glaze was smooth, and it could be called a juicy product by checking the handed down information.
LOT 9041
Qing Dynasty
A MOUNT SHAPED ROBIN'S-EGG GLAZED BRUSH WASHER
H: 17cm
The lot has small round mouth, a short neck, full shoulders, a curved abdomen that is gradually retracted, the shin is introverted, and the circle feet are slightly outward. The whole body is made of Lujun glaze, the body is thin and light, the glaze is fine and even, and the glaze flows like clouds and neon. The overall proportion is harmonious, the lines are smooth and beautiful, and there is no abrupt trace of the body, as if it is natural.
Lujun glaze is a variety of monochromatic glaze created during the Yongzheng period of the Qing Dynasty. "Jingdezhen Taolu" recorded, "The color of the Lujun glaze is as between the eastern kiln and the Yixing hanging glaze, and the pattern flows and changes." There is no strong opening and closing of the Lujun glaze color, but as delicate and lingering as creek. Its shapes are diverse, elegant and beautiful, the glazed vertical stripes resemble waterfalls, and are as gorgeous as peacock feathers. The Qianlong dynasty Lujun glaze inherited the craftsmanship of Yongzheng, and opened up a new atmosphere in the prosperous age. Its mainly used the blue, green, and moon white glazes which have small flowing curve. Blue glazes dots are more common and have richer shapes.
LOT 9038
Guangxu Period, Qing Dynasty
A FLAMBE GLAZED PIPA-SHAPED VASE
H: 35cm
This vessel has a long neck, sloping shoulders, bulging abdomen, and curled feet outside. Antique style, dignified and elegant. Body color is quiet. Ceramic pipa vessel, named because of its shape resembling the musical instrument pipa, is a kind of popular furnishing ceramic in the Qing Dynasty.