2017年2月21日 星期二

29 Important and Rare Chinese Ceramics 29 件重要又稀少之中國瓷器

  29 件重要又稀少之中國瓷器 
29 Important and Rare Chinese Ceramics


(01) 清朝雍正御製官窯黃地畫琺瑯彩瓷胎錦雉嘉耦花鳥牡丹圖碗
     
A Yongzheng Enameled Yellow Ground Colorful Pheasants Devoted Couple Peonies Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty


(02) 清朝乾隆年製官窯黃地畫琺瑯彩瓷胎四面開光西洋人物及紅彩山水圖碗
     
A Yongzheng Enameled Yellow Ground Four Windows Western Figures and Red-decorated Landscape Porcelain Bowl Imperial Palace Workshop Qianlong period Qing Dynasty



(03) 元朝粉青釉執壺連蓋
     
A Celadon-glazed Wine Pot with Cover Yuan Dynasty


(04) 大明成化年製官窯鬥彩葡萄紋高足杯
     
A Chenghua Doucai Grapes Stemcup Ming Dynasty Imperial Palace Workshop Chenghua Period Ming Dynasty


(05) 北宋汝窯青釉雙龍雙羊首印花紋半邊折沿三足洗
     
A Ru-kiln Celadon-glazed Dual Dragon and Dual Sheep-head Mark Porcelain Tripod Brush Washer with Semicircle-bent-mouth-edge Northern Song Dynasty


(06) 元博陵第款青花龍鳳紋四系扁瓶
     
A Blue and White Bolingdi Mark Dragon and Phoenix Moonflask with four Handles Yuan Dynasty


(07) 元釉裏紅龍鳳紋四系扁瓶
     
A Red-underglazed Dragon and Phoenix Moonflask with four Handles Yuan Dynasty


(08) 大明成化年製鬥彩海濤五爪龍紋天字罐
     
A Chenghua Doucai Sea Waves and Five-Claws Dragon Tianziguan Jar with Cover Chenghua period Ming Dynasty


(09) 明永樂官窯青花內外底龍戲珠紋棱口洗
     
A Blue and White Five-Claws Dragon playing Dragon-pearl-ball Decalobed Waterpot Imperial Palace Workshop Yongle Period Ming Dynasty


(10) 明永樂年製官窯薄胎青花嬰戲圖大碗
     
A Blue and White Playing Kids Eggshell Bowl Imperial Palace Workshop Yongle Period Ming Dynasty


(11) 大明萬曆年製青花礬紅彩鬥彩海浪蝦禽獸紋大碗
     
A Blue and White Red-glazed Doucai Sea Waves Shrimp Birds and Beasts Bowl Wanli Period Ming Dynasty


(12) 明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶
     
A Rare and Fine Wucai European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty


(13) 清朝雍正年製官窯畫琺瑯彩瓷胎牡丹花鳥圖瓶
     
A Yongzheng Enameled Peonies Flowers and Birds Porcelain Vase Imperial Palace Workshop Yongzheng period Qing Dynasty


(14) 大明成化年製鬥彩花鳥紋高足杯
     
A Chenghua Doucai Stemcup


(15) 大明宣德年製官窯青花魚藻纏枝蓮花卉紋大盤
     
A Large Blue and White Fish Algae Lotus Dish Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty


(16) 大明宣德年製官窯青花五爪龍鳳纏枝蓮花卉紋盤
     
A Blue and White Five-Claws Dragon and Phoenix Lotus Dish Imperial Palace Workshop Xuande Period Ming Dynasty


(17) 大明宣德年製官窯青花團龍鳳紋葵式洗
     
A Blue and White Five-Claws Dragon and Phoenix Decalobed Waterpot Imperial Palace Workshop Xuande Period Ming Dynasty


(18) 大明成化年製鬥彩雞缸杯
     
A Chenghua Doucai Chicken Cup



(19) 大清雍正年製官窯畫琺瑯彩瓷胎錦雉嘉耦花鳥牡丹圖碗
     
A Yongzheng Enameled Colorful Pheasants Devoted Couple Peonies Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty


(20) 清朝雍正年製官窯畫琺瑯彩瓷胎南雁北歸花鳥圖碗
     
A Yongzheng Enameled Northward-returning Southern Wild Geese Flowers and Birds Porcelain Bowl Imperial Palace Workshop Yongzheng period Qing Dynasty


(21) 大明宣德年製青花雙龍蓮紋合碗連蓋
     
A Blue and White Dual Dragon and Lotus Flower Bowl with Cover Imperial Palace Workshop Xuande Period Ming Dynasty


(22) 北宋汝窯青瓷十瓣蓮花小碗
     
A Blue Ru-Kiln-Porcelain Ware Ten-Petaled Lotus Small Bowl Northern Song Dynasty


(23) 大明成化年製官窯鬥彩嬰戲杯
     
A Chenghua Doucai Playing Children Cup Ming Dynasty Imperial Palace Workshop Chenghua Period Ming Dynasty


(24) 大明永樂年製官窯青花纏枝蓮穿花三爪行龍紋天球瓶
     
A Blue and White Three-Claws Dragon against Lotus-scroll background Hemispherical Bottle Imperial Palace Workshop Yongle Period Ming Dynasty


(25) 元朝霽藍釉地底足內甜白釉刻大元國成吉思汗萬歲萬萬歲內府公用龍紋款三爪白龍紋梅瓶
     
A Sapphire-blue-glazed Blue Ground Three-Claws White Dragon Meiping Vase with White-glazed Base carved Dragon and mark-inscribed Long Live Long Long Live the Great Yuan Empire Genghis Khan and for imperial public usage only Yuan Dynasty


(26) 大明宣德年製官窯釉裏紅蓮塘魚藻紋棱口洗
     
A Red-underglazed Lotus Pond Fish Algae Decalobed Waterpot Imperial Palace Workshop Xuande Period Ming Dynasty


(27) 大明成化年製官窯青花薄胎西洋徽章紋碗
     
A Chenghua Blue and White Western Badge Eggshell Bowl Imperial Palace Workshop Chenghua Period Ming Dynasty



來源:明朝洪武18年(西元1385年)被明朝皇帝任命為軍事元帥職陳秀甫公第20世代子孫陳萬承家族之祖傳傳世品

Provenance:  The family handed-down ancestral collection of the 20th generation descendant 陳萬承 (Chen wan cheng) from the ancestor 陳秀甫 (Chen xiu fu) who was nominated as military Marshal by Ming Emperor in Hongwu 18th year ( A. D. 1385 ) Ming Dynasty.

(28) 大明宣德年製海床撈出傳奇絲路中國外銷經中東至歐洲霽藍釉刻花卉紋梅瓶

尺寸: 高 33.50 公分, 最大腹徑 21 公分, 口徑 4.80 公分, 足徑 11.00 公分.

A Seabed-unearthed en route the legendary Silk Road from China to Europe via Middle East Sapphire-blue-glazed Blue Ground Flowers Carved Meiping Vase Imperial Palace Workshop Xuande Period (1426 - 1435) Ming Dynasty

Size: Height 33.50 cm, Maximum Abdomen Diameter 21 cm, Top Mouth Diameter 4.80 cm, Round Base-stand Foot Diameter 11.00 cm.


(29) 海撈大清雍正年內務府唐英督管(景德鎮)珠山御窯廠窯務制宮廷貢品宮廷專用皇帝賞珍青花花鳥紋瓶 

尺寸: 高 45.50 公分, 最大腹徑 19 公分, 口徑 12.50 公分, 足徑 11.00 公分. 

A Seabed-unearthed en route from Jingdezhen Zhushan Imperial Palace Workshop supervised by Tangying to Beijing Palace for exclusive Palace usage and for the Emperor’s appreciation Blue and White Flowers and Birds Vase Yongzheng Period (1723 - 1735) Qing Dynasty 

Size: Height 45.50 cm, Maximum Abdomen Diameter 19 cm, Top Mouth Diameter 12.50 cm, Round Base-stand Foot Diameter 11.00 cm. 


It's a wonderful and magic world. If you could not find treasures in the earth, then you can find them in the sea. A treasure should have been only for the Emperors at Beijing Palace in Great Qing Dynasty or for the Emperors in the Europe or in the Middle East in the 15th century, however it became for the Emperor in the sea.

這是個傳奇而美妙的世界. 假如在土中找不到寶物, 可以在海裡找到! 本應是屬於北京紫禁城皇宮內大清皇帝或是15世紀歐洲或中東君王賞珍之寶的中國名瓷, 卻成為海龍王賞珍之寶.

海床撈出中國名瓷更加珍貴無比 
The Chinese Fine Ceramics unearthed in the seabed are much more valuable and priceless 

藏在海床污泥內的中國名瓷, 與空氣完全隔離, 宛如置於時空膠囊中, 只要將其瓷體表面的海床污泥刷洗乾淨, 再用淨水泡洗沖刷除去瓷體表面所寄生之海殼類生物體, 即可煥然一新, 正與數百年前剛燒好出窯時的狀況差不多。 官窯瓷器製造堅固,海潮及海浪無法輕易地破壞海中的官窯瓷器。因此, 它們提供了最正確的到代參數資料庫如胎質、胎土、釉面、彩料、紋飾、氣泡、工法、燒法、火石紅、開片、款識、底足、內胎、年代、……等等, 而掌握了這些正確的歷史數據資料, 即等同於具備了過去於瓷器剛燒好出窯時所能取得的相關瓷器鑑定知識,縱使是現代人完全無法回到數百年前之過去年代。

The Chinese Fine Ceramics hidden in the seabed sludge are completely isolated from the air as if they were placed in a time capsule. So long as their seabed sludge on the surface of ceramic body is scrubbed clean, then to soak them in the fresh water and to wash away the parasitic sea crustacean organism off the surface of porcelain with soft brush, they look brand-new as it were just burnt out of the kiln several hundreds of years ago. The ceramics from the Imperial Palace Workshop were all made firm and rigid. The sea tides and waves are not easily to destroy them in the sea. Therefore, they provide the most accurate information to the proper generation database of parameters such as porcelain, clay, glaze surface, color material, ornamentation, bubbles, construction method, burning method, flint fire-burnt red, crackles, inscription, basement at bottom, inner wall, year,...... etc, and to master these correct historical data is tantamount to have a relevant authentication knowledge to identify true ceramics at the time when they were just burnt good out of the kiln even if modern people are completely unable to return to the past several hundreds of years ago.




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買未來機會報表

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台灣製造 3TB 外接式3.5英吋硬碟儲存裝置







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精美中國書畫
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精美中國陶瓷器
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精美中國青銅器
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精美中國玉製及翡翠製雕塑品
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恐龍化石
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太空隕石
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收藏品年代包含從西元前至西元後;
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Flickr網站每天有10,000人次閱覽



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Thirty pieces of Fine and Rare Chinese Archaic Ceramics 30 件重要又稀少之中國瓷器

Thirty pieces of Fine and Rare Chinese Archaic Ceramics
30 件重要又稀少之中國瓷器





(01)01-A Song Celadon Porcelain Moon-flask with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Dragon Handles Imperial Palace Workshop Xuanhe four-character dark-brown seal mark and of the period (1119-1125) Song dynasty.




Size:
Height 22.2 x Maximum Abdomen Width 16.5 x Top Mouth Diameter 5.4 x Maximum elliptical Base-stand foot Diameter 8.2 x Minimum elliptical Base-stand foot Diameter 5.1 cm

Authentication:
(1) Having both gold and black colored crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in Song dynasty.
(3) Having black colored foot edge in Song dynasty.
(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.










(02)02-A Song Celadon Porcelain Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Pipe-like Handles Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).





Size:
Height 26 x Maximum Abdomen Diameter 15 x Maximum Top Mouth Diameter 10.1 x Maximum elliptical Base-stand foot Diameter 11.7 x Minimum elliptical Base-stand foot Diameter 9.9 cm

Authentication:
(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in Song dynasty.
(3) Having black colored foot edge in Song dynasty.
(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-014022-N000000000 Imperial Palace Workshop Southern-Song dynasty (1127-1279) Size: Height 26.6 x Maximum Top Mouth Diameter 11 cm.










(03)03-A Song Celadon Porcelain Six-petaled Lotus Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).





Size:
Height 22 x Maximum Abdomen Diameter 12 x Maximum Top Mouth Diameter 9.6 x Maximum Six-petaled Lotus round Base-stand foot Diameter 7.2 cm

Authentication:
(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.
(2) Having violet colored mouth edge in Song dynasty.
(3) Having black colored foot edge in Song dynasty.
(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.










(04)04-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Plate Mouth Northern-Song dynasty (960-1127).




Size:
Height 21.3 x Maximum Abdomen Diameter 9 x Top Mouth Diameter 6.4 x round Base-stand foot Diameter 7 cm

Authentication:
(1) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song dynasty those should have been generated for hundreds of years.
(2) Having light-glazed mouth edge in Song dynasty.
(3) Having five burning-supporting nail-head marks whose shapes are as small round millets at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors inside the five burning-supporting nail-head marks at the outer surface of bottom and shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.










(05)05-A Song Ru Kiln Sky-blue-glazed Porcelain Small Dish with Crackles Northern-Song dynasty (960-1127).




Size:
Height 3.1 x Top Mouth Diameter 13.9 x round Base-stand foot Diameter 9.3 cm

Authentication:
(1) Having the marks of agate being mixed in the glaze those should have been made in the Ru kiln Song dynasty.
(2) Having light-glazed foot edge in Song dynasty.
(3) Having three burning-supporting nail-head marks whose shapes are as small elliptical millets at the outer bottom of the small dish those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors inside the three burning-supporting nail-head marks at the outer surface of bottom in the Ru kiln Song dynasty those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.
(9) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-009827-N000000000 Imperial Palace Workshop Northern-Song dynasty (960-1127) Size: Height 3.3 x Top Mouth Diameter 13 x round Base-stand foot Diameter 9 cm.










(06)06-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Dish with Crackles Song dynasty (960-1279).





Size:
Height 4 x Top Mouth Diameter 18.6 x round Base-stand foot Diameter 8.6 cm

Authentication:
(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.
(2) Having light-glazed mouth edge in Song dynasty.
(3) Having manually pulled spiral shapes at the outer wall and bottom of the dish those should have been made in the Jun kiln Song dynasty.
(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the dish those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.










(07)07-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Vase with two handles and Crackles Song dynasty (960-1279).




Size:
Height 18 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 5.6 cm

Authentication:
(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.
(2) Having light-glazed mouth edge in Song dynasty.
(3) Having manually pulled spiral shapes at the outer wall and bottom of the vase those should have been made in the Jun kiln Song dynasty.
(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the vase those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.










(08)08-A Liao Celadon-glazed Porcelain Leather-bag-flask with Horse-riding Design and crackles (Broken Handle) Liao dynasty (1031-1218).




Size:
Height 33.3 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 10.4 cm

Authentication:
(1) Having leather-bag-flask with horse-riding design that should have been made in the Liao dynasty.
(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the flask those should have been made in the Song/Liao/Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the flask and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Song/Liao/Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size at random place in Song/Liao/Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song/Liao/Yuan dynasty that has not been used nowadays.










(09)09-A Yuan Blue and White Jar with Octagon-mouth Lotus-shaped Cover and Walking Three-claw Dragon Design Yuan dynasty (1206-1368).




Size:
Height with cover 33 x Height without cover 28 x Maximum Abdomen Diameter 33 x Maximum Top Octagon-Mouth Width 19.7 x Maximum Bottom Octagon-Base-stand foot Width 21.3 cm

Authentication:
(1) Having a walking three-claw dragon design that should have been made in the Yuan dynasty.
(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them at both outer and inner wall of the jar as well as the cover in Yuan dynasty those should have been generated for hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the jar and the inner wall of the cover those should have been made in the Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the jar and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of white on the surface in Yuan dynasty that should have been formed in the ancient wood-burning kiln.
(8) Having dry clay in Yuan dynasty that has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(10)10-A Yuan Blue and White Under-glaze Red Porcelain Mongolia-dwelling-tent-bowl with cover and Floral Phoenix Design Yuan dynasty (1206-1368).





Size:
Height with cover 15.5 x Height without cover 8.5 x Top Mouth Diameter 25 x round Base-stand foot Diameter 17 cm

Authentication:
(1) Having a phoenix totem on the Mongolia-dwelling-tent-shape cover design that should have been made in the Yuan dynasty.
(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them at both outer and inner wall of the bowl as well as the cover in Yuan dynasty those should have been generated for hundreds of years.
(3) Having manually pulled spiral shapes at the bottom of the bowl and the inner wall of the cover those should have been made in the Yuan dynasty.
(4) Having fire-flint earth-yellow colors at the bottom clay of the bowl and the shrunk-glaze-holes as well as the unglazed clay on the porcelain body those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of white on the surface in Yuan dynasty that should have been formed in the ancient wood-burning kiln.
(8) Having dry clay in Yuan dynasty that has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.
(10) A similar same-period object has been collected in the State Hermitage Museum, St. Petersburg, Russia. This object was also lent to be exhibited in Jan. 2013 at the Shanghai Museum, Shanghai, China.










(11)11-A Xuande Blue and White and Under-glaze Red Porcelain Moon-flask with Floral and Eight-treasures Design and two Handles Imperial Palace Workshop Xuande period (1426-1435) Ming dynasty.




Size:
Height 30.5 x Maximum Abdomen Diameter 22 x Depth 10 x Top Mouth Diameter 5 x rectangular Base-stand foot Length 9.8 x rectangular Base-stand foot Width 6.8 cm

Authentication:
(1) Having an eight-treasure design that should have been made in the Yuan/early-Ming dynasty.
(2) Having shrunk-glaze-holes at the outer wall of the flask in Ming dynasty.
(3) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(4) Having fire-flint earth-yellow colors at the bottom foot clay those should have been generated for hundreds of years.
(5) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(6) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(8) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(12)12-A Xuande Blue and White Bottle Gourd Porcelain Vase with Floral Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.




Size:
Height 34 x Maximum Abdomen Diameter 18 x Top Mouth Diameter 3.5 x round Base-stand foot Diameter 11 cm

Authentication:
(1) Having a bottle gourd design that should have been made in the Yuan/early-Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-grey colors at the bottom foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(7) Having manually pulled spiral shapes at the bottom of the vase and the inner wall of the mouth those should have been made in the Yuan/Ming dynasty.
(8) Having dry clay in Yuan/Ming dynasty that has not been used nowadays.
(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(13)13-A Xuande Blue and White Porcelain Bowl with Walking Five-claw Dragon Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.




Size:
Height 10.8 x Top Mouth Diameter 21.8 x round Base-stand foot Diameter 8.6 cm

Authentication:
(1) Having a walking five-claw dragon design that should have been made in the Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(7) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(14)14-A Xuande Blue and White Porcelain Stemcup with Pine Bamboo and Plum Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.




Size:
Height 10.4 x Maximum Abdomen Diameter 8 x Top Mouth Diameter 11.2 x round Base-stand foot Diameter 5.2 cm

Authentication:
(1) Having a stem-cup design that should have been made in the Yuan/Ming dynasty.
(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.
(3) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(7) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.
(8) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.










(15)15-A Chenghua Doucai Red Porcelain Cup with Double Phoenixes Design and Crackles Imperial Palace Workshop Chenghua six-character blue seal mark and of the period (1465-1487) Ming dynasty.




Size:
Height 5.5 x Top Mouth Diameter 9 x round Base-stand foot Diameter 4 cm

Authentication:
(1) Having a Doucai phoenix design that should have been made in the Chenghua period Ming dynasty.
(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green and yellow colored portion those should have been formed for hundreds of years.
(6) Having both red and ivory-yellow colored clay that has been exhausted and not been used nowadays.










(16)16-A Kangxi Famille Verte (Wucai) Porcelain Vase with Dragon and Phoenix Design Imperial Palace Workshop Kangxi six-character blue seal mark and of the period (1662-1722) Qing dynasty.





Size:
Height 43 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 16.2 x round Base-stand foot Diameter 14 cm

Authentication:
(1) Having a famille verte (Wucai) dragon and phoenix design that should have been made in the Kangxi period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon blue, red and white colors as bubble-sea in the Kangxi period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green and yellow colored portion those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yuan/Ming/early-Qing dynasty.










(17)17-A Yongzheng Enameled in the Famille Rose palette Porcelain Vase with Floral and Butterflies Design Imperial Palace Workshop Yongzheng six-character blue seal mark and of the period (1723-1735) Qing dynasty.




Size:
Height 41 x Maximum Abdomen Diameter 22 x Top Mouth Diameter 10.8 x round Base-stand foot Diameter 13.3 cm

Authentication:
(1) Having an Enameled in the Famille Rose palette Floral and Butterflies Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and red colors as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green, yellow and milky-white colored portion those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yongzheng/Qianlong dynasty.
(7) Having the inner-shell-of-bivalve-reflecting clam-light on milky-white colored Famille Rose palette that should have been formed for hundreds of years.










(18)18-A Yongzheng Enameled Eggshell Porcelain Vase with Western Family and a Villa Garden Design Imperial Palace Workshop Yongzheng four-character blue seal mark and of the period (1723-1735) Qing dynasty.







Size:
Height 23.5 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.6 x round Base-stand foot Diameter 6.2 cm

Authentication:
(1) Having an enameled western Family and a villa garden together with fine and delicate painting, calligraphy, three red leisure seals, and poem Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.
(2) Having an eggshell manual-body-construction technique that has not been done successfully nowadays.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and golden surfaces together with sky-green base as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on sky-green colors at outer-base, inner wall at the top mouth, and floral decorations at top, neck and bottom, yellow flower at garden, green leaves at the hat on head of the man those should have been formed for hundreds of years.
(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yongzheng/Qianlong dynasty.
(7) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.










(19)19-A Qianlong Enameled Porcelain Vase with Flowers and Birds Peacock and Peahen Design Imperial Palace Workshop Qianlong six-character blue seal mark and of the period (1736-1795) Qing dynasty.







Size:
Height 32.5 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 6.3 x round Base-stand foot Diameter 10.1 cm

Authentication:
(1) Having an enameled flowers and birds peacock and peahen together with fine and delicate painting, calligraphy, three red leisure seals, and poem Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.
(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white surface and green color at peacock tail feathers as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on green colored leaves and yellow cheek of peacock head those should have been formed for hundreds of years.
(6) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.
(7) An enameled porcelain bowl with similar peacock design has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-013983-N000000000 Imperial Palace Workshop Yongzheng four-character blue seal mark and of the period (1723-1735) Qing dynasty Size: Height 15.2 cm. This bowl was lent to be exhibited in the Tokyo National Museum Japan from 2014/6/24 to 2014/9/15 and the Kyushu National Museum Japan from 2014/10/7 to 2014/11/30.










(20)20-A Qianlong Enameled Porcelain Bowl with Yellow Ground Four Windows Western Figures and Red-decorated Landscape Design Imperial Palace Workshop Qianlong four-character blue seal mark and of the period (1736-1795) Qing dynasty.




Size:
Height 6.8 x Top Mouth Diameter 15.1 x round Base-stand foot Diameter 6.7 cm

Authentication:
(1) Having an enameled yellow ground, four windows, western figures and red-decorated landscape Design that should have been made in the Qianlong period Qing dynasty.
(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.
(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and red colors as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having crackles on yellow, blue, sky-blue ground at the outer wall, sky-green ground at the inner wall and outer bottom of bowl those should have been formed for hundreds of years.
(6) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.










(21)21-A Northern Song Ding Kiln White ground Wucai Porcelain Lotus-mouth shaped Vase with carved and gilt Playing Children by Butterfly and Flowers Design and two Elephant-trunk Handles (two cracks in the neck) Imperial Palace Workshop two-character “Yi Ding” carved and gilt seal mark Northern Song (960-1127) dynasty.





Size:
Height 28.5 x Maximum Abdomen Width 14 x Maximum Top Mouth Length 7.2 x Minimum Top Mouth Width 6.3 x round Base-stand foot Diameter 7.7 cm

Authentication:
(1) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding Kiln in Northern Song dynasty those are not made by the modern techniques.
(2) Having two-character “Yi Ding” carved and gilt seal mark by Ding Kiln in Northern Song dynasty that is not made by the modern technique.
(3) Having sixteen-character “Lotus giving birth to its Lotus Flower, Lotus planting in the River and giving birth to its Lotus Blossoms, Dedicating with it at the center of the River to the Buddha!” carved and gilt imperial Buddhist blessing inscription for the Buddha by Ding Kiln in Northern Song dynasty that is not made by the modern technique.
(4) Having fire-flint earth-yellow colors at the foot edge in Northern Song dynasty those should have been generated for hundreds of years.
(5) Having manually glaze-painting technique in Northern Song dynasty that has not been used nowadays.
(6) Having deeply earth-water-soaked colored spots all-over the surface of the vase by Ding Kiln in Northern Song dynasty those should have been generated for hundreds of years.










(22)22-A Yongle Blue and White quadruped Water-dropper with Flowers and Phoenixes on Sea Waves Design and Sea Ship Shape Imperial Palace Workshop Yongle four-character carved seal mark and of the period (1403-1424) Ming dynasty.





Size:
Height 20 x Length 22 x Width 11 x quadruped Base-stand foot Length 12 x quadruped Base-stand foot Width 5 cm

Authentication:
(1) Having Flowers and Phoenixes on Sea Waves Design and Sea Ship Shape those should have been made in the Yongle period Ming dynasty during the great sea adventures by Zheng Ho (1371-1435) who was a powerful imperial eunuch of the Emperor Yongle and was commanded to sail for seven expeditions as far as the east coast of Africa and seashores of Red Sea with a large imperial fleet from 1405 to 1433.
(2) Having fire-flint red colors at the bottom clay those should have been generated for hundreds of years.
(3) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.
(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.
(6) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.
(7) Having Yongle four-character carved seal mark at the bottom clay that is not made by the modern technique.










(23)23-A Tang Sancai Pottery Vase with four Dragon-heads, four Plum Blossoms, four Rings, twisted Ropes Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).







Size:
Height 27 x Maximum Abdomen Diameter 26.5 x round Base-stand foot Diameter 11.8 cm

Authentication:
(1) Having both glazed teardrops, and manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.
(2) Having burned-out remains of stepping-earth at the foot bottom by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.
(3) Having manually glaze-painting technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.
(4) Having very fine spider’s-web-crackles with white dots all-over the glazed surface of the vase those should have been generated for hundreds of years.
(5) Having fine and tiny black sands all-over the surface of the pottery body by Tang Sancai Kiln in Tang dynasty those are not refined by the modern clay-washing technique.
(6) Having the inner-shell-of-bivalve-reflecting clam-light at some surface of the glaze by Tang Sancai Kiln in Tang dynasty that should have been generated for hundreds of years.










(24)24- A Tang Yue Kiln Celadon-glazed Bottle Gourd Porcelain Vase with two Handles and very fine crackles Tang Dynasty (618-907).







Size:
Height 21.5 x Maximum Abdomen Diameter 11.5 x round Base-stand foot Diameter 6.7 cm

Authentication:
(1) Having manually glaze-painting technique in Tang dynasty that has not been used nowadays.
(2) Having thin-and-light-celadon-glazed surface by Yue Kiln in Tang dynasty.
(3) Having five burning-supporting nail-head marks whose shapes are as slim pine seeds at the outer bottom of the vase those should have been made by the Yue Kiln in Tang dynasty.
(4) Having under-glaze bubbles of random size at random place by the Yue Kiln in Tang dynasty those should have been formed in the ancient wood-burning kiln.
(5) Having dry grey-white clay in Tang dynasty that has not been used nowadays.
(6) Having wide-opened ditch-shaped crackles all-over the celadon-glazed surface of the vase those should have been generated for hundreds of years.
(7) Having fine and tiny black sands all-over the surface of the body clay by the Yue Kiln in Tang dynasty those are not refined by the modern clay-washing technique.










(25)25-A Northern Song Ding Kiln White Porcelain Meiping Vase with carved Flowers Design and crackles Imperial Palace Workshop two-character “Yi Ding” carved seal mark Northern Song (960-1127) dynasty.







Size:
Height 28.5 x Maximum Abdomen Width 15 x Top Mouth Diameter 3.7 x round Base-stand foot Diameter 8.4 cm

Authentication:
(1) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding Kiln in Northern Song dynasty those are not made by the modern techniques.
(2) Having two-character “Yi Ding” carved seal mark by Ding Kiln in Northern Song dynasty that is not made by the modern technique.
(3) Having fire-flint grey-white colors at the foot edge in Northern Song dynasty those should have been generated for hundreds of years.
(4) Having manually glaze-painting technique in Northern Song dynasty that has not been used nowadays.
(5) Having fine ice-crackles all-over the white glazed surface of the vase those should have been generated for hundreds of years.
(6) Having fine and tiny black sands all-over the surface of the porcelain body by Ding Kiln in Northern Song dynasty those are not refined by the modern clay-washing technique.
(7) Having milky-white color of the white glaze by Ding Kiln in Northern Song dynasty that is not the pure white color of the white glaze used by the modern technique.










(26)26-A Tang Sancai Pottery Dish with four Fishes, four Blossoms, eight Lotus Petal-rim Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).







Size:
Height 3.4 x Diameter 18 x round Base-stand foot Diameter 5.5 cm

Authentication:
(1) Having both glazed teardrops, and manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.
(2) Having three burning-supporting nail-head marks whose shapes are as small round rice at the outer bottom of the dish that has the same 3.9 cm distance between each burning-supporting nail-head mark as the three burning-supporting nail-head model in the Tang Sancai kiln unearthed at the Huang Ye Kiln in Gong YI City Henan Province China those are not made by the modern techniques.
(3) Having white color pottery at the three burning-supporting nail-head marks that is not used by the modern porcelain clay material.
(4) Having manually glaze-painting technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.
(5) Having very fine spider’s-web-crackles with white and dark dots all-over the glazed surface of the dish those should have been generated for hundreds of years.
(6) Having fine and tiny dark sands all-over the surface of the pottery body by Tang Sancai Kiln in Tang dynasty those are not refined by the modern clay-washing technique.
(7) Having the inner-shell-of-bivalve-reflecting clam-light at some surface of the glaze by Tang Sancai Kiln in Tang dynasty that should have been generated for hundreds of years.

(8) There are several similar Tang Sancai Pottery Dishes collected by the Musée Guimet in Paris France and the Metropolitan museun of Art in New York U.S.A.











(27)27-A Song Celadon Porcelain Guan-type “Touhu (An ancient game-pot to be thrown into arrows)” Vase with Hexagonal body, two Hexagonal tubular lug handles by the mouth and a tall neck, Gold-light-Iron-dark-lines Crackles and Iron-black-foot Design Imperial Palace Workshop Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071) Emperor Shenzong Northern Song dynasty together with the inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739).







Size:
Height 20.2 x Maximum Abdomen Width 13.2 x Maximum Top Hexagonal Mouth Diameter 5.8 x Maximum Hexagonal Base-stand foot Diameter 9.1 cm

Carved Inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739):
(1)    In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15th, 2008), with “Qian Style” two-character carved seal mark.
(2)    Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071 Emperor Shenzong Northern Song dynasty).

Authentication:
(1) Having both Gold-light-lines and Iron-dark-lines Crackles in Song dynasty those have not been successfully made nowadays.
(2) Having Iron-black colored foot edge in Song dynasty.
(3) Having fire-flint earth-yellow colors at the foot rim in Song dynasty those should have been generated for hundreds of years.
(4) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(7) Having dark-black colored clay in Song dynasty at the carved inscription area that is not used by the modern porcelain clay material.
(8) Having fine and tiny dark sands all-over the surface of the body clay in Song dynasty those are not refined by the modern clay-washing technique.
(9) Having sky-green colored celadon glaze in Song dynasty that has not been used nowadays.
(10) Emperor Qianlong Qing dynasty ordered to carve the “Xining Fourth Year” four-character seal mark and of the year (A.D. 1071 Emperor Shenzong Northern Song dynasty) on the surface of the vase and this seal mark has officially proved its age of creation.
(11) Emperor Qianlong Qing dynasty ordered to carve the “In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15th, 2008)”, together with “Qian Style” two-character carved seal mark on the surface of the vase and this inscription has officially proved its valuable treasure-like authenticity.
(12) The carvings of inscription on the surface of the vase by Emperor Qianlong Qing dynasty were made artificially and evenly to be spread upon curved and arched skin glaze of the vase manually with ancient Jade-carving techniques those have not been used nowadays.
(13) The carvings of inscription on the surface of the vase by Emperor Qianlong Qing dynasty contained written Manchu language characters those were historically matched the inscription style of Emperor Qianlong in early Qianlong period upon his favorite Chinese fine and rare paintings and ceramics. In middle and end Qianlong period, his inscription style became all written Chinese language characters without any written Manchu language character. Historically being a Manchu Emperor of Chinese people, he had been assimilated by the Chinese culture while appreciating these fine Chinese works of art.
(14) This Touhu (An ancient game-pot to be thrown into arrows) vase was for an ancient Chinese game during a feast in which the winner was decided by the number of arrows thrown into a distant Touhu pot. A similar same-function celadon Touhu vase has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-003189-N000000000 made by Longquan kiln in Ming dynasty (1368-1644) Size: Height 33.2 x Top Mouth Diameter 9.2 x round Base-stand foot Diameter 13.4 cm.










(28)28-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Hexagonal body “Cai” one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer central surface of the bottle Northern-Song dynasty (960-1127).







Size:
Height 21.3 x Maximum Abdomen Width 9.2 x Maximum Top Hexagonal Mouth Diameter 6.6 x Maximum Hexagonal Base-stand foot Diameter 6.7 cm

Authentication:
(1) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song dynasty those should have been generated for hundreds of years.
(2) Having heavier-and-brighter-colored spots glazed under a different degree those were called Yu Zi (Fish-roe) totems and were the marks of agate being mixed in the glaze those should have been made in the Ru kiln Song dynasty.
(3) Having five burning-supporting nail-head marks whose shapes are as small elliptical sesames at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.
(4) Having fire-flint earth-yellow colors inside the five burning-supporting nail-head marks at the outer surface of bottom and shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those should have been generated for hundreds of years.
(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.
(6) Having as few under-glaze bubbles of random size at random place as the morning stars in Song dynasty those should have been formed in the ancient wood-burning kiln.
(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.
(8) Having dry clay in Song dynasty that has not been used nowadays.
(9) “Cai” one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer central surface of the bottle has officially proved its valuable authenticity. This “Cai” one-character carved seal mark was done before it was glazed and burned in the kiln, and should have been made in the Ru kiln Song dynasty.
(10) Having deeply soaked earth-yellow colored skin of the glazed surface through the earth in Song dynasty that should have been generated for hundreds of years.










(29)29-A Yuan Luanbai White glazed Porcelain Ewer Yuan dynasty (1206-1368).







Size:
Height 17.8 x Top Mouth Diameter 6.6 x round Base-stand foot Diameter 6.2 cm

Authentication:
(1) Having both shrunk-glazed spots at the outer rim of foot and fire-flint earth-yellow colors at this area together with the inner wall of the ewer in Yuan dynasty those should have been generated for hundreds of years.
(2) Having manually pulled spiral shapes at the outer bottom and the inner wall of the ewer those should have been made in the Yuan dynasty.
(3) Having fire-flint earth-yellow colors at the bottom clay of the ewer and the shrunk-glazed spots as well as the unglazed clay at the outer rim of foot and the inner wall of the ewer those should have been generated for hundreds of years.
(4) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.
(5) Having under-glaze bubbles of random size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.
(6) Having a greenish duck-eggshell-like tinge out of white on the surface in Yuan dynasty that should have been formed by the unique Luanbai white glaze used in Yuan dynasty and burned in the ancient wood-burning kiln.
(7) Having dry clay in Yuan dynasty that has not been used nowadays.
(8) Having black burned-out remains of round stepping-earth at the foot bottom in Yuan dynasty those are not made by the modern techniques.
(9) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze in Yuan dynasty those are not made by the modern techniques.










(30)30-A Kangxi Blue and White Porcelain Guanyin Vase with Garlic head and Auspicious Clouds together with Cranes Design Imperial Palace Workshop Kangxi four-character blue seal mark and of the period (1662-1722) Qing dynasty.







Size:
Height 29.3 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.7 x round Base-stand foot Diameter 8.9 cm

Authentication:
(1) Having fire-flint earth-yellow colors at the foot-rim clay those should have been generated for hundreds of years.
(2) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.
(3) Having under-glaze bubbles of random size everywhere at the glaze painted body upon blue and white colors as bubble-sea in the Kangxi period Qing dynasty those should have been formed in the ancient wood-burning kiln.
(4) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the early-Qing dynasty.
(5) Having domestic Chinese blue and white glazed colors used in the early-Qing dynasty those are light-blue and extra-ordinarily elegant and have not been used nowadays.

(6) Having extremely smooth skin on the glazed surface of the vase that meets with the critical requirement of fine blue and white glazed ceramics from the Imperial Palace Workshop in Kangxi period. 










ORION WEB SELLING PLATFORM
ORION 網路銷售平台

Turn Web Browsing ENERGY AND TIME to BUSINESS AND MONEY
將網路瀏覽能量及時間轉變為生意與金錢

Buy Future Opportunity Reports
買未來機會報表

Solar Light Electrified Collector
太陽能光電收集器

Taiwan Made 3TB External 3.5” HDD
台灣製造 3TB 外接式3.5英吋硬碟儲存裝置







Taiwan Tea 台灣茶
Car Driver Refreshing Tea 開車提神茶
Tote Bag 大手提袋
Home Pillow 家庭枕頭
Sofa Pillow 沙發枕頭
Car Pillow 汽車枕頭







Beautiful Apparel 美麗衣服
Tote Bag 大手提袋
Home Pillow 家庭枕頭
Sofa Pillow 沙發枕頭
Car Pillow 汽車枕頭







World Art Fair and World Art Olympiad
世界藝術博覽展售會與世界藝術競賽會







Orion Art Museum and Gallery
Orion 藝術博物館與藝廊



Fine Chinese Paintings
精美中國書畫
Chinese Potteries and Ceramics
Fine Chinese Porcelain Ware
精美中國陶瓷器
Fine Chinese Bronze Ware
精美中國青銅器
Fine Chinese Jade and Jadeite carved Artifacts and Sculptures
精美中國玉製及翡翠製雕塑品
Dinosaur fossils
恐龍化石
Space Meteorites
太空隕石
Collections including those made from Century B.C. to A.D.; and Source from unearthed, unearthed-seabed, to the outer space.
收藏品年代包含從西元前至西元後;
來源從地下海床到外太空.







A Facebook public group "Fine Art to Sell"
臉書公共社群網站 "藝術精品展售"




Hello! Your beautiful works of art are invited to join a public Facebook group "Fine Art to Sell" to exhibit freely fine art for sale to buyers worldwide.

From Western Oil Paintings to Chinese Watercolor Paintings; from Europe to America via China and Africa by-passing India; from bronze, jade and Jadeite, ceramics, paintings, dinosaur fossils, sculptures, to space meteorites; from century B.C. to A.D.; from US several dollars to millions, and even priceless; from unearthed, unearthed-seabed, to the outer space, you can find many extra-ordinary works of art here in this group!

Over thirty-two thousand increasing group members, most of them are creative and professional Artists, have offered over five thousand and five hundred increasing valuable lots for your appreciation and examinations! It’s completely free to be in and free to be out as your wish and to get your knowledge of worldwide art freely!


(Over 32,000 group members and 5,500 artworks)


哈囉! 邀請您美麗的藝術作品歡迎加入臉書公共社群網站 "藝術精品展售" 以便向全世界的買家免費展示.

從西方油畫到中國水墨彩畫; 從歐洲至美洲經由中國與非洲路過印度; 從青銅器, 玉器翡翠, 瓷器, 書畫, 恐龍化石, 雕塑, 至太空隕石; 從西元前至西元後; 從數美元至數百千萬美元, 甚至無價之寶; 從地下出土, 海底床出水, 甚至於外太空, 您可在此臉書公共社群網站中找到許多特別好的藝術作品!

超過三萬二千位增加中的會員, 其中絕大部分是富有創造力強而專業的藝術作家, 已經提供了超過五千五百件增加中的名貴藝術作品供您鑑賞! 它是完全免費進入也是免費離開, 且正如您所願, 可以自由進出以取得您的全球藝術知識!



(超過32,000名會員與5,500件藝術品)



Over 1,800 photos of fine Chinese works of art including Ceramics and Paintings from large museums worldwide and Sotheby’s auctions as well as Christie’s auctions:
超過1,800在世界各大博物館及蘇富比拍賣與佳士得拍賣之精美中國瓷器及書畫藝術品圖片資料


(Over 1,800 artworks)




Mr. Orion Hsu
Orion Museum and Gallery



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(Over 875,000 visitors/views/clicks 訪客點閱 with Google+)


(Over 6,276,000 visitors/views/clicks 訪客點閱 with Google+)


(Over 760,000 visitors/views/clicks 訪客點閱 with Google+)



10,000 visitors/views/clicks per day at Flickr
Flickr網站每天有10,000人次閱覽



(Over 6,600,000 visitors/views/clicks)