A RARE BLACK LACQUER MALLOW-SHAPED DISH SONG DYNASTY

delicately constructed with shallow everted sides rising from a low foot to a six-lobed rim resembling the petals of a mallow flower, naturalistically divided by 'S'-shaped ridges on the cavetto and underside and further encircled with metal at the rim, the lustrous lacquer of deep brown colour, the base inscribed in red paint with a four-character seal mark probably reading Lu shi Minben

Chūgoku Bijutsu-ten Series 4 So Gen no Bijsutsu/Chinese Art Exhibition Series 4: Art of the Song and Yuan Dynasties, Osaka City Museum of Fine Arts, Osaka, 1978, cat. no. 3-4.

The lacquer surface shows occasional small superficial flakes which have been retouched. The largest one is on the exterior measuring 1 by 0.3 cm., while the interior shows 4 tiny flakes, the largest one 0.2 by 0.2 cm. All this is to be expected for lacquer of this age and type. There is a patch to the interior showing discoloration (visible in illustration), which is typical of the type and as a result of aging. The metal rim is typically slightly loose and oxidized.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Song Lacquerware

The understated elegance and sublime perfection of plain Song dynasty lacquerware evoke ideals of classical beauty that seem to transcend time and space. Such vessels are the product of a fresh aesthetic that was brought about by the newly established Song dynasty and the subsequent changes in the distribution of wealth and resources as well as a renewed discovery of the beauty of nature.

In a quest to establish an identity that deviated from that of the Tang but aimed at reviving a romanticised concept of antiquity based on Confucian Han ideals, the scholar-elite of the Song dynasty promoted commercial liberalism which granted much freedom to the activities of merchants, brokers and landowners who in turn transformed the capital into a vibrant urban hub. Merchants and traders from throughout the empire gathered in large numbers; thus a wealthy upper-class was formed, allowing a greater number of people access to privileges and luxuries previously restricted to the court.

Lacquerware flourished in the Song dynasty as a result of the changes in the aesthetic culture, social structure and the availability of materials. Silver was no longer available on the same scale as it had been during the Tang dynasty, as the Song government had entered into a bilateral agreement with the Liao rulers in 1005 with payment to be made in silver. As items of gold were restricted to the court a change of taste went hand in hand with the development of other exquisite materials such as lacquer. The broad range of utilitarian and luxury articles not only fulfilled daily needs but also satisfied the cultivated taste and aesthetic ideals of the upper class.

The close dialogue between monochrome lacquer and ceramics is evident in the shapes and delicacy of the vessels. Many of these lacquer pieces were made with cores of wood in the laborious quandie method (thin strips of treated softwood bent into shape and adhered together), or with a lacquer-stiffened textile core. The latter method enabled craftsmen to create complex lobed shapes and gave the wares a weightless quality, as well as a thinness similar to that of fine Ding ware. Both porcelains and lacquers of this type were fitted with thin metal rims: to protect the unglazed lip of Ding ware as the vessels were fired upside down, and to prevent chipping along the delicate lacquer edges.  Furthermore, as illustrated in the present pieces, the unassuming shapes of the dishes and cupstand, colour and sheen of the surfaces and naturalistic forms closely correspond with contemporary brown-glazed Ding vessels to strongly suggest that the potters sought to emulate the brilliance of their lacquer counterparts. These Song lacquers reflect a new phase of artistic creation that inspired both contemporary craftsmen and those in later dynasties.  

____________________________________________________________________________

A closely related example was included in the exhibition Oriental Lacquer Arts, Tokyo National Museum, Tokyo, 1977, cat. no. 426; and another from the Lee Family Collection, exhibited in The Museum of East Asian Art, Cologne, 1990, Los Angeles County Museum of Art, 1990/91, and the Shoto Museum of Art, Shibuya, 1991, was sold at Christie's Hong Kong, 3rd December 2008, lot 2103.

Clarence F. Shangraw, in 'Chinese Lacquers in the Asian Art Museum of San Francisco', Orientations, April 1986, p. 26, illustrates a red lacquer dish of this form but of slightly larger size and notes that the fine crackle on the surface of these vessels, known as 'cow-hair cracks', was due to the thinness of the lacquer and differs from the deeper cracks of the more thickly lacquered Yuan counterparts.