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北宋宋徽宗御用汝官窯天青釉刻劃花三爪龍紋六蓮瓣花口盤

Northern Song Dynasty Emperor Huizong's imperial use Ru imperial kiln sky-green glazed engraving and incising decoration carved three-clawed dragon pattern six lotus petal flower mouth plate

https://youtu.be/qvcH2pe4mHA

https://youtu.be/OTdVd4i8IDo

https://youtu.be/LzAyXU8dI58

https://youtu.be/WPD2pCKiR2g

https://youtu.be/Ifp5JNE550E

https://youtu.be/B-XFT1lg4cU

https://youtu.be/LZn1wfr8uPg

https://m.facebook.com/groups/fine.art.to.sell/permalink/3252064515115929/

世界各大博物館藏汝窯瓷器皆無紋飾圖案

Ru kiln porcelains in major museums around the world have no decorative patterns

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世汝窯瓷器有精美紋飾圖案

The Ru kiln porcelains handed down from the ancestors of the Chen Xiufu family, who was the founding hero and military marshal of the Ming Dynasty, have exquisite decorative patterns.

台北故宮博物院藏北宋玉雕玉冊玉匱龍紋嵌片上之皇室工藝龍紋

The Royal Craftsmanship Dragon Pattern on the Northern Song Dynasty Jade Carved "Jade Plaque composing a jade case with Dragon Pattern Inlays", in the National Palace Museum, Taipei, Taiwan, Republic of China.

就此瓷盤上的龍紋而言，與台北故宮博物院所藏下列北宋真宗祥符元年 (公元 1008 年) 禪地玉冊玉匱嵌片” 上的龍紋相比，兩者皆近似，有雙角帶龍鬚的龍頭後方皆有翻轉龍背脊，故推斷有此龍紋瓷盤應屬北宋汝官窯供宋徽宗御用的作品。

As far as the dragon pattern on the porcelain plate is concerned, it is similar to the following "the dragon pattern on the Jade plaque composing a jade case, made in the first year (1008 C.E.) of Xiangfu of Emperor Zhenzong reign, Northern Song dynasty" in the collection of the National Palace Museum, Taipei, Taiwan, Republic of China. In comparison, both are similar, behind the dragon head with double horns and dragon whiskers, there are flipped dragon back-ridges. So it is inferred that this dragon-patterned porcelain plate should be the work of Ru Imperial kiln in the Northern Song Dynasty for the imperial use of the Emperor Song Huizong.

北宋真宗祥符元年 (公元 1008 年) 禪地玉冊玉匱嵌片

文物統一編號：贈玉000004N000000006

https://digitalarchive.npm.gov.tw/Antique/Content?uid=47382&Dept=U

Jade plaque composing a jade case, made in the first year (1008 C.E.) of Xiangfu of Emperor Zhenzong reign, Northern Song dynasty.

Unified number of cultural relics: NPM Donate Jade 000004N000000006

北宋晚期青釉印花盤龍紋瓷盒 1989年清涼寺汝官窯遺址I區出土

原文網址：https://kkne.ws/6q1MnE

A celadon-glazed printed porcelain box with dragon pattern, late Northern Song Dynasty, unearthed in Area I of Ru Imperial Kiln Site of Qingliang Temple in 1989

Original URL: https://kkne.ws/6q1MnE

北宋宋徽宗御用汝官窯天青釉刻劃花三爪龍紋六蓮瓣花口盤

重量：1065 grams 公克

高度：4.1 ～ 4.2 cm 厘米

圓盤盤口直徑：25.4 ～ 25.5 cm 厘米

圈足直徑：15.0 ～ 15.1 cm 厘米

本瓷盤為滿釉支燒，七支釘痕，香灰土黃灰色胎，天青釉，無冰裂紋片為汝窯極品，潤之如玉。

因瓷盤尺寸甚大，常見汝窯瓷器之器物底部為三個或五個細小如芝麻般支燒釘已經不敷承受重量，故在器物底部可見大如泥豆狀的支釘痕七個，痕跡很淺，大如豆。

本瓷盤具備「瑪瑙入釉」釉面的「變色效應」。瑪瑙呈蠟狀光澤，具雙折射 (光亮) 性質，折射率高，必定對釉面的天青色、乳濁性、玉質感有著非常重要的影響。在陽光下，此汝窯瓷器釉面的「變色效應」，正是瑪瑙粉末具備雙折射特性而反射光線的結果。

除了天青色，汝窯瓷器還有一大特點，那就是瑪瑙入釉。

瑪瑙入釉原因之一：古陶瓷愛好者應該都了解，北方瓷胎釉與南方瓷胎釉，最大的區別就是北方是低矽高鋁，燒制溫度高；而南方是高矽低鋁，燒制溫度低。北方釉燒制溫度高，燒制溫度高就會導致瓷胎顏色重，這就不利於獲得天青色，但是瑪瑙入釉之後就會改善這種狀況，瑪瑙主要成分是二氧化矽，瑪瑙入釉可以增加釉中矽的含量，同時降低鋁的比例，降低釉的燒制溫度，同時也能制約瓷胎的顏色 (燒制溫度越高瓷胎顏色越深)，更有利於獲得天青色。

瑪瑙入釉原因之二：汝瓷的釉質是典型的石灰釉，釉中助溶劑氧化鈣含量達到15%左右。如釉中不加瑪瑙的話；為獲得天青的釉色而降低燒制溫度；釉料會燒不透，瓷胎也同樣欠燒透。而在高溫下 (超過1220℃) 它容易燒成玻璃質釉，不具備乳濁的玉質感品質。況且，汝瓷釉中氧化鐵含量高達2%以上，比南宋官窯的釉和龍泉窯的釉，含鐵量均高，釉厚度也不如它們厚。在高溫還原氣氛中，離子鐵豐富，釉料充分熔融，只能得到青綠色玻璃質釉，而天青色乳濁的玉質感是無法燒制出來的。加了瑪瑙的汝釉，降低了釉的燒制溫度，有利於得到乳濁的玉質感釉質。這就是瑪瑙在汝窯瓷器中貢獻之二。

瑪瑙入釉原因之三：汝瓷以瑪瑙入釉，不僅降低燒制溫度，能將窯溫控制在攝氏1180—1280度，也制約了胎釉色的深淡，更重要是這個溫度促進了汝瓷釉的析晶分相釉的成功。所謂的析晶其實是通過控制窯內溫度，促進胎體以及釉中的晶體分子不斷地活動，從下向上翻滾，使晶體形狀由「點」開成「花」，此一過程恰好與天然名石肌理的生成規律如出一轍，層次感非常豐富多變，隨意分布，與天然玉石難分伯仲，這也是汝瓷「似玉非玉，勝似玉」的原因。

綜上所述，瑪瑙入釉的主要原因，第一是為了得到天青色的釉面，第二是降低釉面的玻化程度，也降低了釉的燒制溫度，有利於得到乳濁性的玉質感釉質。第三是可促進析晶分相釉面的玉質感。

瓷盤上有數處「黑點、白點、縮釉點、棕眼之古瓷瑕疵」，亦具備古瓷應有之「千年蛤蜊光」、龍紋刻劃線條「皆是手工製作、亦顯左右不對稱，大小、間隙、寬度、深度皆不相同，明顯是由手工刻劃形成」，底部圈足中央分水嶺直線上及兩側壁足緣有「瑪瑙入釉及聚釉痕跡」，刻劃陰線溝內有古代柴燒氣泡，底部圈足略為外撇。

古時汝窯窯工的修胎是很有特點的，為了追求時效，熟練窯工往往就在快速的幾刀之中完成了修坯的工作，因此，在此器物外壁上及器底圈足內可見到修坯時所留下的明顯「轉輪製痕」。

器底圈足線邊緣等薄釉處露出醬柿泛紫色如「紫線邊緣」。瓷盤內外壁面上及底足圈足內支燒釘旁有「數處刮傷痕的古瓷瑕疵」及「黏窯砂、粘渣底」。

另外，器底於光線下呈現略為凹凸不平，是由於泥坯中間的部位水份未乾，成型泥胎在掙脫粘連的��范（模）時，由北宋窯工左右輕微轉動脫模操作所形成。現代仿製品完全無法製作器底略為凹凸不平現象。

現代博物館裡的專業人士、收藏家、鑑賞家、學者、專家等等，因為他們都不是北宋皇帝宋徽宗本人，所以顯然他們已經把自己作為平民老百姓的品味，當作是應該屬於北宋皇帝宋徽宗的最愛。他們普遍認為，市面上流傳下來的 80 餘件傳世汝窯瓷器，應該就是北宋皇帝宋徽宗的御用汝官窯瓷器。你認為有可能嗎？

來源：

屬擊敗蒙古元朝歐亞大帝國的明朝皇帝朱元璋所分封為軍事大元帥的「陳秀甫」(陳秀甫亦為明代開國功臣光祿大夫《光祿大夫為皇帝開國及軍事作戰的出糧出資金錢財主》) 家族傳世的祖傳傳世品。

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Northern Song Dynasty Emperor Huizong's imperial use Ru imperial kiln sky-green glazed engraving and incising decoration carved three-clawed dragon pattern six lotus petal flower mouth plate

Weight: 1065 grams

Height: 4.1 ~ 4.2 cm

Plate mouth diameter: 25.4 ~ 25.5 cm

Ring foot diameter: 15.0 ~ 15.1 cm

This porcelain plate was full-glazed and burned with supporting-nails, seven supporting-nail marks, incense-ash-like-earth-yellow-greyish porcelain body, sky-green glaze, without any broken-ice-cracking-like cracking-pattern as the best exquisite ru kiln ware, jade-like smoothness.

Due to the large size of the porcelain plate, it is common for Ru kiln porcelain wares to have three or five small sesame-like supporting-nails at the bottom, which are not enough to bear the weight. Therefore, seven large pea-shaped supporting-nail marks can be seen on the bottom of the utensil. The marks are very shallow, as big as a bean.

This porcelain plate has the "color-changing discoloration effect" of the "agate-in-glazed" glaze. Agate has a waxy luster, birefringence (brightness) and high refractive index, which must have a very important influence on the sky-green glazed color, milky opacity and jade texture of the glaze. Under the sunlight, the "color-changing discoloration effect" of the glaze of this Ru kiln ware is the result of the birefringence of agate powder and the reflection of light.

In addition to the sky-green glazed color, Ru kiln porcelain has another major feature, that is, the "agate-in-glazed" glaze.

One of the reasons why agate is in-glazed: Ancient ceramics enthusiasts should all know that the biggest difference between the northern porcelain body glaze and the southern porcelain body glaze is that the north is low silicon and high aluminum, and the firing temperature is high; while the south is high silicon and low aluminum, the firing temperature is low. The firing temperature of the northern glaze is high, and the high firing temperature will cause the color of the porcelain body to be dark, which is not conducive to obtaining sky-green glazed color, but this situation will be improved after the agate is in-glazed. The main component of agate is silicon dioxide, and when the agate is in-glazed, it can increase the content of silicon in the glaze, reduce the proportion of aluminum, reduce the firing temperature of the glaze, and also restrict the color of the porcelain body (the higher the firing temperature, the darker the porcelain body color), which is more conducive to obtaining sky-green glazed color.

The second reason why agate is added into the glaze: the glaze of Ru porcelain is a typical lime glaze, and the content of cosolvent calcium oxide in the glaze is about 15%. If agate is not added into the glaze; to reduce the firing temperature in order to obtain the sky-green glazed color; the glaze will not be burnt through, and the porcelain body will also not be burnt through. At high temperatures (over 1220°C), it is easy to be burnt into a vitreous glaze, which does not have the opaque milky jade-like quality. Moreover, the content of iron oxide in Ru porcelain glaze is as high as 2% or more, which is higher than the glaze of Guan kiln in the Southern Song Dynasty and the glaze of Longquan kiln, and the thickness of the glaze is not as thick as that of them. In a high-temperature reducing atmosphere, the ionic iron is abundant, if the glaze material is fully melted, only a turquoise vitreous glaze can be obtained, and the sky-green opaque milky jade-like texture cannot be fired. The Ru glaze added with agate reduces the firing temperature of the glaze, which is beneficial to obtain opaque milky jade-like glaze. This is the second contribution of agate in Ru kiln porcelain.

The third reason why agate is in-glazed: Ru porcelain uses agate to be added into the glaze, which not only reduces the firing temperature, but also controls the kiln temperature at Celsius 1180-1280 degrees, and also restricts the darkness and lightness of the porcelain glaze color. More importantly, this temperature promotes the success of crystallizing phase-splitting glaze of Ru porcelain. The so-called crystallization is actually by controlling the temperature in the kiln to promote the continuous movement of the crystal molecules in the porcelain and the glaze, rolling from bottom to top, so that the crystal shape changes from "dots" to "flowers", which is exactly the same process law of generation as the formation of the texture of natural famous stones. The formation of their texture is exactly the same, the layering is very rich and varied, and it is randomly distributed, which is indistinguishable from natural jade. This is why Ru porcelain is "like jade but not jade, but better than jade".

To sum up, the main reasons why agate is in-glazed are, firstly, to obtain a sky-green colored glaze, and secondly, to reduce the degree of vitrification of the glaze, and also reduce the firing temperature of the glaze, which is beneficial to obtain opaque milky jade-like glaze. The third is to obtain the jade-like texture that can be promoted by the crystallization and phase-splitting of the glaze.

There are several "black spots, white spots, shrinking glaze spots, brown-eye-small-hole of ancient porcelain flaws" on the porcelain plate, and it also has the "millennium clam light" that ancient porcelain should have. The engraving and incising decoration carved lines of dragon pattern "are all handmade and also show asymmetry between the left and right and are different in size, gap, width, and depth, which were obviously formed by hand-carving". There are "marks of agate mixed in the glaze and polyglaze" on the straight line of the central watershed at the bottom inside the bottom ring foot, and at the bottom of both side walls of the bottom ring foot". There are ancient wood-fired air bubbles in the concave ditches of the engraving and incising decoration carved lines, and the bottom foot ring is slightly slanted outward.

In ancient times, kiln workers in Ru kilns were very characteristic in trimming the porcelain body. In order to pursue timing, skilled kiln workers often completed the work of trimming the porcelain body in a few quick cuts. Therefore, the outer wall of this ware and the bottom of the ware inside the foot ring, the obvious "rotating-wheel-making marks" left by the trimming can be seen.

At the thin glaze, such as the edge of the foot line of the bottom ring foot, all reveal the color of sauce-persimmon which was turned purple, such as the "purple line edge". On the inner and outer walls of the porcelain plate and beside the supporting-nails on the inner bottom of the bottom ring foot, there are "several scratched marks of ancient porcelain flaws" and "pasted kiln sands, sticky slag bottom".

In addition, the bottom of the utensil is slightly uneven under the light. Because when the water in the middle of the porcelain mud body was not dry yet and meanwhile the molded mud body was slightly turned left and right to be broken away from the sticking mud mold. So long as the porcelain kiln workers in the Northern Song Dynasty took the above procedure, then the uneven bottom would have been formed. Modern imitations are completely unable to produce slightly uneven bottoms.

Professionals in the modern museums, collectors, connoisseurs, scholars, experts, and so on, because they are all not the Emperor Song Huizong of the Northern Song Dynasty himself, so obviously they have regarded their own taste of being the common people, as the same favorite that should belonged to the Emperor Song Huizong in the Northern Song Dynasty. They generally believed that more than 80 pieces of Ru kiln porcelain handed down on the market should be the personal royal Ru Imperial kiln porcelain wares of the Northern Song Emperor Song Huizong. Do you think it is possible?

Provenance:

The handed down collection from the family ancestor of Chen Xiufu, a military marshal who was assigned by the Ming Emperor Zhu Yuanzhang (Zhu Yuanzhang defeated the Eurasian Empire of the Mongolian Yuan Dynasty), (Chen Xiufu was also the founding hero of the Ming Dynasty, whose official name was Guangludafu, "Guangludafu was the rich and wealthy capitalist of food and money supplied for the emperor's nation-founding and military operations.").

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http://myfatebook.com

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網誌 Blogger：

Orion Museum

文章 Article：

VIP 尊貴客戶鑑賞 7 件藝術品

Seven valuable works of art for VIP valued customers to appreciate

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/vip-7-seven-valuable-works-of-art-for.html

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明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世汝窯瓷器有精美紋飾圖案

The Ru kiln porcelains handed down from the ancestors of the Chen Xiufu family, who was the founding hero and military marshal of the Ming Dynasty, have exquisite decorative patterns.

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/ru-kiln-porcelains-handed-down-from.html

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Orion Museum

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「天神密碼」保護「無價生命」我們知道你的昨天、今天和明天！

"The God's Code" protects "Priceless Life" We know your yesterday, today and tomorrow!

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/gods-code-protects-priceless-life-we.html

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明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品

The art collections handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/art-collections-handed-down-from-family.html

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Orion Museum

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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 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

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/wucai-european-envoy-presenting-tribute.html

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五代後周時期柴官窯綠釉皇室工藝底部篆印 “柴” 一字款雙龍紋薄胎鏤空管心瓶

Chai imperial kiln green glaze royal craftsmanship with bottom seal-marked-and-printed one-character "Chai", double dragon patterns, thin shell, hollow-carved, tube heart, Bottle Vase, Imperial Palace Workshop, Hou Zhou Period (921 - 959 A.D.) Five Dynasties.

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/chai-imperial-kiln-green-glaze-royal.html

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宋元吉州窯黑釉玳瑁天目釉鷓鴣斑曜變茶盞

Song and Yuan Dynasty Jizhou Kiln Black-glazed, tortoiseshell Yohen tenmoku (kiln change) painted "partridge's speckling" splashes tea bowl

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/song-and-yuan-dynasty-jizhou-kiln-black.html

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明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品(瓷器)

The art collections (Ceramics) handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/art-collections-ceramics-handed-down.html

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唐朝女皇武則天越窯秘色青瓷浮雕鳳(女皇)霸臨天下紋筆洗

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連結 Link：

https://orionsmuseum.blogspot.com/2022/07/tang-dynasty-empress-wu-zetian-yue-kiln.html

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北宋宋徽宗御用汝官窯天青釉刻劃花三爪龍紋六蓮瓣花口盤

Northern Song Dynasty Emperor Huizong's imperial use Ru imperial kiln sky-green glazed engraving and incising decoration carved three-clawed dragon pattern six lotus petal flower mouth plate

大元國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 and Long Live the great Yuan Empire Genghis Khan and for imperial public usage only' great Yuan Dynasty

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品(6大名瓷)

The art collections (6 famous porcelain) handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/08/northern-song-dynasty-emperor-huizongs.html

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Orion Museum

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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

30 件重要又稀少之中國瓷器

Thirty pieces of Fine and Rare Chinese Archaic Ceramics

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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

(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).

(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

(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

(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

...

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

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 unearthed in the seabed are much more valuable and priceless

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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