AN EXTREMELY RARE IMPERIAL HEIRLOOM DINGYAO RIBBED CYLINDRICAL TRIPOD INCENSE BURNER NORTHERN SONG DYNASTY |

of archaistic lian form, superbly potted with a wide cylindrical body supported on three short cabriole legs, the exterior of the body encircled with nine evenly spaced thin raised ribs, veiled overall save for the unglazed rim and a circular disc on the interior with a translucent ivory-coloured glaze gently pooling on the underside, the rim mounted with a copper-coloured metal band

Collection of Alfred Schoenlicht (d. 1955), The Hague.
Sotheby's London, 13th December 1955, lot 60.
Collection of Dr Carl Kempe (1884-1967).
Sotheby's London, 5th November 2008, 498.

International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935, cat. no. 1171.

H.F.E. Visser, Asiatic Art in Private Collections of Belgium and Holland, Amsterdam, 1947, pl. 128, no. 228.
Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 448.

The piece is in excellent condtion although it has not been examined under the metal band.
"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."

Adapted from an archaic bronze form, this exquisite incense burner belongs to a classic group of ceramic incense burners and is a particularly rare example of its type. Although this unassuming silhouette was produced in various proportions and arrangements of raised ribs, it is extremely unusual to find the ribs so evenly spaced and perfectly formed as on the present. The delicate rings not only accentuate the beauty of the form and glaze but also attest to its maker’s command over the medium. Five Ding incense burners belonging to this group, which illustrate the individuality of each potted piece, were included in the exhibition Gugong lidai xiangju tulu/A Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties, National Palace Museum, Taipei, 1994, cat. nos 35-39, together with a roughly contemporary Jingdezhen copy, cat. no. 44, a later Dehua copy, cat. no. 67, and a ‘Guang ware’ copy, probably from Guangzhou, cat. no. 71, all from the collection of the National Palace Museum, Taipei. Three of the five Ding incense burners in Taipei were also included in the exhibition Dingzhou hua ci. Yuan zang Dingyaoxi baici tezhan/Decorated Porcelains of Dingzhou. White Ding wares from the collection of the National Palace Museum, National Palace Museum, Taipei, 2014, cat. no. II-5.6.7, all with fitted wooden covers with Yuan (1279-1368) or Ming (1368-1644) jade carvings as finials, a type known to have been commissioned by the Yongzheng Emperor (r. 1723-1735) from the palace workshops.

Further incense burners include one, in the Palace Museum, Beijing, published in Selection of Ding Ware. The Palace Museum Collection and Archaeological Excavation, Beijing, 2012, pl. 41, together with a smaller version excavated from Tomb 1 in Yangjiawan, Changsha, Hunan province, and now in the Hunan Provincial Museum, pl. 40; another in the Tianjin City Art Museum, Tianjin, published in Tianjin Shi Yishu Bowuguan cang ci/Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, pl. 26; and another illustrated in Hsien-ch’i Tseng & Robert Paul Dart, The Charles B. Hoyt Collection in the Museum of Fine Arts: Boston, vol. II, Boston, 1972, pl. 29. See also an incense burner, from the collection of the Chang Foundation, sold in our London rooms, 11th December 1984, lot 169, and again in these rooms, 3rd October 2017, lot 10, from the Le Cong Tang collection; another from the Carl Kempe collection and illustrated in Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 447, sold in our London rooms, 14th May 2008, lot 238; and a much smaller fragmentary example recovered from the Ding kiln site in Quyang, Hebei province, illustrated in Zhongguo gu ciyao daxi. Zhongguo Dingyao/Series of China’s Ancient Porcelain Kiln Sites: Ding Kiln of China, Beijing, 2012, pl. 108.

This group of incense burners reflects the major impact on the arts that resulted from a drastic political shift during the early Song dynasty, from a society ruled by a hereditary aristocracy to one governed by a central bureaucracy of scholar-officials selected through civil service examinations. The resulting rise of Neo-Confucian ideals emphasised the importance of history in the pursuit of virtue. The increased interest in antiquities led to a revival of archaic jade and bronze forms that Song potters skilfully adapted into their repertoire. The present incense burner finds its roots in gilt-bronze tripod wine vessels (zun) of the Han dynasty (206 BC – AD 220), generally supported on bear-shaped feet, fitted with ring handles and supplied with a cover, such as an example decorated with animals, that is engraved with an inscription identifying it as a wine vessel (jiu zun) and dating it in accordance with the year 26 BC, illustrated in Li Xueqin, ed., Zhongguo meishu quanji: Gongyi meishu bian [Complete series on Chinese art: Arts and crafts section], 5: Qingtong qi [Bronzes], vol. 2, Beijing, 1986, pl. 217, together with another gilt-bronze wine zun with matching tripod stand in the Palace Museum, Beijing, pl. 236, which is decorated with a triple raised band in the centre and single bands at the rim and base, and attributed to the reign of Guangwudi, AD 25-57.

The ribbed tripod form was also adopted at other official kilns that produced wares for the court, for example, the Ru kilns in Baofeng, Henan province, see Wang Qingzheng, Fan Dongqing & Zhou Lili, Ruyao de faxian/The Discovery of Ru Kiln, Hong Kong, 1991, pls 59 and 66, for a piece from the collection of Sir Percival David, now in the British Museum, London, and one from the Palace Museum, Beijing respectively; and at the Hangzhou guan (‘official’) kilns, see a piece in the National Palace Museum, Taipei, included in the Museum’s exhibition Gui si chenxing. Qing gong chuanshi 12 zhi 14 shiji qingci tezhan/Precious as the Morning Star. 12th-14th Century Celadons in the Qing Court Collection, National Palace Museum, Taipei, 2016, cat. no. II-2, where the author mentions, p. 67, related examples excavated from both the Laohudong and the Jiaotanxia kiln sites in Hangzhou.