View full screen - View 1 of Lot 806. A large painted pottery jar Majiayao culture, Banshan to Machang phase, c. 2600-2000 B.C. 馬家窰文化 半山至馬廠類型 彩陶大罐.
806

A large painted pottery jar Majiayao culture, Banshan to Machang phase, c. 2600-2000 B.C. 馬家窰文化 半山至馬廠類型 彩陶大罐

Property from the Ronald W. Longsdorf Collection | Ronald W. Longsdorf 收藏

A large painted pottery jar Majiayao culture, Banshan to Machang phase, c. 2600-2000 B.C. 馬家窰文化 半山至馬廠類型 彩陶大罐

A large painted pottery jar Majiayao culture, Banshan to Machang phase, c. 2600-2000 B.C. 馬家窰文化 半山至馬廠類型 彩陶大罐

Property from the Ronald W. Longsdorf Collection

A large painted pottery jar

Majiayao culture, Banshan to Machang phase, c. 2600-2000 B.C.

Ronald W. Longsdorf 收藏

馬家窰文化 半山至馬廠類型  彩陶大罐


d. 38.2 cm; h. 30.8 cm

As expected and very typical of its type, the jar has some consolidated breaks predominantly to the rim. The original paint is largely preserved.


有少許舊裂,經加固,主要位於口沿,究其種類屬正常。原彩繪整體保存善好。


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Ronald W. Longsdorf, The Pottery Age: An Appreciation of Neolithic Ceramics from China, Circa 7000 BC - Circa 1000 BC, Hong Kong, 2020, pl. 27.


Ronald W. Longsdorf, 《陶誌:中國新石器時代陶器 約公元前7000年 – 前1000年》,香港,2020年,圖版27

Gracious in its proportion and thoughtful in its composition, the present jar is not only an outstanding example of large painted pottery jars from the Banshan phase in Majiayao culture, but also an exquisite masterpiece combining geometry and abstractionism in the art of pottery.


It is widely believed that such jars were intended to be viewed from the top, which probably explained why they are usually undecorated from the midpoint of the vessel as they would remain invisible to the eye. The astute design of horizontal arrangements of bold dark roundels each accentuated by concentric dotted borders within them created a powerful contrast between the geometrical circles and their negative spaces. The bulbous curving contours of the vessel, as well as the interruption of the loop handles would have posed challenges to the Neolithic potters to maintain a symmetrical outcome to the composition. The uneven negative spaces between the second horizontal register of large roundels are cleverly disguised by the insertion of smaller roundels between them, as well as the bold line borders underneath. The resulting arrangement created an hypnotising design with remains timeless to the modern eye.


Compare a similar jar illustrated in Cheng Zheng and Qian Zhiqiang, Painted pottery of the Yellow River, Taipei, 1994, p. 280, pl. 197; and another in the collection of Jinshan Museum, illustrated in Jinshan Museum (ed.), Fascinating charm of ancient pottery: Exquisite pottery of Jinshan Museum, Shanghai, 2015, p. 45.


本品造形優雅,紋飾佈局清朗大方,不僅是馬家窰文化、半山時期之珍貴文物,亦展現抽象而雋永悠長的陶藝之美。


此類陶罐紋飾,多僅綴於器身上半部,或原使用方式為俯觀之,遂無須贅飾下部。深褐空心圓,渾厚大膽,間綴細點框線,虛實之間,對比強烈,震撼壯美,器肩圓鼓,兩側小耳,均使得紋飾繪製,更成挑戰。下層大圈紋之間,巧綴小圈,更顯平衡一致。懾人心弦,至今觀之仍能深受觸動。


比較一例,刊於程征及錢志強,《黃河彩陶》,台北,1994年,頁280,圖版197;還有一例載於金山博物館(編),《古韻陶魂:金山博物館藏陶器精品》,上海,2015年,頁45。