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China, Song Dynasty, Small Cizhou Type Pot
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Small Cizhou-type jar with a globular body and wide neck.
Floral decoration framed by cloud-shaped borders, painted in black on a white slip, transparent glaze.
Character written in ink under the base (potter's mark?).
Southern Song Dynasty (1127-1279).
Dimensions: 8.3 cm (H) x 9 cm (Neck Diameter).
Condition report: excellent condition.
Several sites in the Cizhou district of Hebei and Henan gave rise to a category of ceramics, exceptional among those of the Song Dynasty (960-1279). More than the delicacy of the forms and the quality of the glazes, it emphasizes the decoration, with a search for contrasting, often striking, effects. Judging by the abundance of production and the longevity of the kilns, which in some centers have continued to this day, its success in China has always been considerable. The majority of Cizhou ware consists of utilitarian stoneware, gray or buff, with robust forms—jars, basins, mortars, pillows, etc.—aimed at a popular clientele. They are always coated with a slip and, after the decoration is applied, with a transparent glaze. Treated with breadth and vigor, floral themes predominate, particularly the peony, sometimes with very large blooms. Animals, especially birds and fish, are also found, and later, scenes of children, figures, and landscapes inspired by contemporary ink wash painting.
Small Cizhou-type jar with a globular body and wide neck.
Floral decoration framed by cloud-shaped borders, painted in black on a white slip, transparent glaze.
Character written in ink under the base (potter's mark?).
Southern Song Dynasty (1127-1279).
Dimensions: 8.3 cm (H) x 9 cm (Neck Diameter).
Condition report: excellent condition.
Several sites in the Cizhou district of Hebei and Henan gave rise to a category of ceramics, exceptional among those of the Song Dynasty (960-1279). More than the delicacy of the forms and the quality of the glazes, it emphasizes the decoration, with a search for contrasting, often striking, effects. Judging by the abundance of production and the longevity of the kilns, which in some centers have continued to this day, its success in China has always been considerable. The majority of Cizhou ware consists of utilitarian stoneware, gray or buff, with robust forms—jars, basins, mortars, pillows, etc.—aimed at a popular clientele. They are always coated with a slip and, after the decoration is applied, with a transparent glaze. Treated with breadth and vigor, floral themes predominate, particularly the peony, sometimes with very large blooms. Animals, especially birds and fish, are also found, and later, scenes of children, figures, and landscapes inspired by contemporary ink wash painting.
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