Lot 2821
  • 2821

A CIZHOU-TYPE RUSSET-PAINTED BLACK-GLAZED OVOID JAR SONG – YUAN DYNASTY

Estimate
60,000 - 80,000 HKD
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Description

  • Stoneware
potted with a tapered body swelling to a broad shoulder from a countersunk base, surmounted by a short neck centred with a flange below the lipped mouthrim, covered overall save for the unglazed buff footring in a black glaze, the rounded shoulder freely decorated in russet slip with splashes depicting leaves and spreading wings of petals

Condition

There appears to be minor restoration to the mouth of the jar. Other general surface wear and scratches. The colouring is marginally darker and more lustrous than the catalogue photo.
"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."

Catalogue Note

The simple but effective use of clusters of applied russet splashes to form a dramatic contrast with the lustrous dark brown glaze reflects the adventurous techniques and variety that define ceramic production of the period. The russet splashes are thought to have evolved naturally from the experimental nature of competing Song dynasty kilns which produced black and brown-glazed wares for the thriving tea market. This jar is a particularly successful example of this technique, as the round floral motifs accentuate the swelling shoulders while providing an effective contrast with the narrow neck. As no two ‘splashes’ can be the same, the serendipitous nature of this decorative technique must have appealed to the Song literati.

The iron-rich glazes of black wares are described by Nigel Wood in Chinese Glazes, London, 1999, p. 137, as seeming to “evoke the very earths of China” as their main raw materials were often sourced from the clays, river-muds and silts of both north and south China. From the Tang dynasty onwards, black-glazed stonewares began to make significant contributions to Chinese ceramics, with the finest pieces produced at kilns near the Yellow River. Minimalist forms that were often inspired by nature and covered with monochrome glazes soon led to painted and splashed designs which were achieved by exploiting lighter overglazes on the dark ground or firing temperatures. Black wares were revived in the Song dynasty and the potters skilfully manipulated their materials to capture a likeness of other materials, such as oil-spot, ‘hare’s fur’ and 'partridge feather' markings.

For other jars of comparable form, covered in similar russet-coloured splashes, see an example in the collection of the Palace Museum, Beijing, attributed to the Jin dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 212; and another sold in these rooms, 24th November 2014, lot 1009. Compare also a Cizhou-type bottle decorated with splashes resembling peony scrolls in the collection of Tokyo National Museum (accession no.: TG2499), donated by Mr Hirota Matsushige and dated to Jin to Yuan dynasty, included in the special exhibition Charm of Black: Transition of Cizhou Type Wares, Osaka Municipal Museum of Art, Osaka, 2002, cat. no. 151; and another Cizhou-type vase in the Idemitsu Museum of Arts, dated to the Jin dynasty and illustrated in Cizhou Ware of China. Its Charm and Taste, Tokyo, 2005, cat. no. 12.