well modelled with shallow sides rising from a short foot, the flat centre of the interior finely moulded with a keyfret band encircling a striding Buddhist lion reaching towards a beribboned brocade ball, the mythical scene further highlighted with scrolling motifs, applied with a clear creamy-white glaze pooling in areas, the rim with a metal band
Galaxie Company, Hong Kong, 26th November 1988.
Another Jin dynasty moulded Dingyao dish with a design of frolicking lions in the National Palace Museum, Taipei, was included in the Museum’s exhibition Decorated Porcelains of Dingzhou. White Ding Wares from the Collection of the National Palace Museum
, Taipei, 2014, cat. no. II-118. It is larger (17.5 cm) than the current dish, sharing similar iconography as the current dish, but differing in that it is decorated at the cavetto with keyfret and classic scroll bands.
Production of Ding ware consisted mostly of small utilitarian wares such as dishes and bowls initially left undecorated or hand carved in the 10th to 12th centuries. From the late Northern Song period, craftsmen moved away from incised decoration to using mushroom-shaped moulds which were similar to those used for casting gold and silver vessels. The clay was pressed onto the relief-decorated mould before the edges were trimmed down, to ensure the piece retained the form as well as the thinness and lightness of precious materials. This technique allowed for the manufacture of a large number of vessels, thereby satisfying the demand of the market.