Crane and deer are to Han Chinese well wishes for longivety and official career. Also, deer is a totem animal to Mongolian people representing femail ancestral worshipping. The statue was made during Mongolian rule. I guess this is the only celadon ( pale blue 青白釉) statue, Bodhisattva, accompanied by two well wishing animals made under its category during Yuan dynasty.
Chinese Painted Pottery in Pingling Township
Painted pottery in the Sixteen States Period, excavated in Pingling Township, Xianyang, Shaanxi Province.
Jieshou Painted Pottery refers to the pottery produced in Jieshou City of Anhui Province, East China. It was first found in the civil kiln sites of the Tang Dynasty (618-907).
Originating in the Sui (581-618) and Tang dynasties, the ancient painted pottery in Jieshou prevailed in the Ming and Qing dynasties (1368-1911). It inherited the style of Tang Tri-colored Pottery and adopted the exquisite techniques and various styles from other artistic forms, such as Chinese paper-cut and New Year Woodcut.
The main products are utensils for daily use, such as bottles, jars and jugs, decorated with three-color carvings. The thick and primitive shape, vivid carving and unique tri-color (namely, reddish brown, beige and white) style are the characteristics of Jieshou painted pottery. The frequent subjects include characters from folk stories, theatrical tales, landscapes, flowers, birds, fish and grass.
In the process of making the pottery, the first stage is shaping, and then comes glazing and polishing. In biscuit firing, the temperature is controlled at around 700-800 ℃, but in glaze-baking the temperature reaches as high as 1,000-1,050 ℃. After baking for two days, the pottery takes on three colors (namely, reddish brown, beige and white), which reflect each other and form patterns.
Jieshou painted pottery, with simple, straightforward and massive themes and colors, displays an aesthetic tendency of folk art which centers on natural and harmonious visual effects. Its primitive and ancient style is well received in art markets both at home and abroad. Its products have been marketed to a dozen countries such as Japan, Poland and Hungary. The Victoria and Albert Museum of the United Kingdom holds some tri-colored pottery products from Jieshou.
It’s a general consensus that abstract painting is a style commonly considered as Western, first practiced by twentieth-century artists such as Pablo Picasso and Marcel Duchamp, also antithetical to the spirit of Chinese art as it’s possible to get. So what to make of a claim that the medium was first adopted by Chinese ancestors some 4,000 years ago?
That is exactly the discovery touted by Wang Zhi’an, an aficionado of Majiayao painted pottery, who has devoted himself to collecting and studying the ancient objects for more than three decades.
Growing up a village boy, living not far from the Majiayao relics in Lintao County, Gansu Province, at the upper stream of the Yellow River, Wang, now in his sixties, has become one of the country’s foremost experts in the field.
“You have no idea how interesting it is,” Wang said, in front of several objects from his large collection. “Studying this pottery, even the subtle difference of the lines and colors of the designs on them, is to me like a long and vivid journey back to ancient China.
“It always fills me with a kind of awe toward our ancestors,” Wang said. “The more things I dig out, the more innocent I find myself.”
Wang illustrated his new theory on the abstract nature of many of these designs point by observing some frog portraitures.
“The four legs of the frogs are over-emphasized, and the other body parts almost neglected,” he said, pointing at several designs.
“This is the essence of abstract art. Everyone can tell these are frogs, but clearly, they are not mere imitations of the real creature,” he said, smiling.
“How wise our ancestors were.”
Painted pottery is representative of Majiayao Culture (3,100-2,700 BC), which belongs to the Neolithic Period (9,500 BC onwards) and is a part of Chinese ancient civilization who lived primarily in the upper Yellow River regions of Gansu and Qinghai.
Frogs were a common subject for their pottery as the Majiayao people considered them divine creatures, helping them resist the floods of the Yellow River with their four legs.
“I think that’s why all the frogs are abstracted to just four legs stretching,” Wang theorized.
Wang was fascinated by Majiayao painted pottery since his early thirties, when he once wrote to Chinese cartoon master Ye Qianyu, offering to send him a piece of painted pottery as a gift, after hearing Ye was to be released from prison after the Cultural Revolution (1966-76).
But the piece, which was sent by one of his village friends, was broken due to carelessness, and he tried to find another exactly the same. This extremely difficult hunt started his quest collecting Majiayao painted pottery, which has lasted over three decades.
Wang opened a non-profit museum in Lintao in 2004, which displays all his collection over the last 30 years, amounting to around 1,000 pieces of Majiayao painted pottery.
The exhibits include pottery from almost all periods of Majiayao culture, providing visitors a chance to imagine the lives of Chinese ancestors from some 3,000 to 4,000 years ago.
Wang also founded the Lintao Majiayao Culture Research Institute in 1996, with several friends particularly interested in studying Majiayao culture.
Although not organized by any local government, the institute has carved out a reputation for itself in the painted-pottery world, and as president, Wang is frequently invited to give speeches in and outside China.
“There are many people curious about our ancient civilizations,” Wang said, mentioning that he is currently preparing for a journey to Japan during the Spring Festival.
“No time to relax with my family during the New Year! I’ll be pleased to tell Japanese people and experts a little bit about our ancient culture,” he said, pride etched on his face.
Although many ancient Chinese arts and cultures have started to receive high attention from the government, research on Majiayao painted pottery is still far from enough, according to Wang.
But unlike other small-scale museum owners, who are desperately in need of government support, Wang says he’d rather “do things on his own,” with money from his interior decoration and advertising companies bankrolling his project. He says he will remain digging up the past, as long as his energy permits.
Source: Global Times
for sale kangxi pottery
Made for a fifth rank civil official, the bird, a symbol of literary elegance, worked in white satin stitch alighting on a rock emerging from waves in which jewels are tossed, the bird surrounded by ruyi-shaped clouds and the sun finely worked in satin stitch in shades of blue, green, brown and coral with fine couched gold outline, the rock formation and the border worked in bright green peacock feather filament, all reserved on a dense ground of couched gold threads, within a scroll border
Qianlong period of artistic porcelain enamel in general to be inferior to the Yongzheng period, which may be made with the court within the enamel and the lack of staff turnover. Construction Section of the file, according to records, “Qianlong emperor on March 17, leader of Wu Shu is: Palace of Heavenly Purity Explorer Su Peisheng pay little eunuch He Delu, Trespass, Yangru Fu, Wei Qingqi 4. Edicts have come from: the school burned to the enamel as enamel. Khin this. ” “Qianlong emperor on April 14, the total silent reminder painted enamel people participate in Mindanao for the lack of use, and the other person wishing to draw Zhang Weiqi reluctantly into the inner enamel as bad as usual line to take silver grain, food bank workers 52 per month, two, Silver 18 2 Aug clothes, Minister of the sea looking back to the Ming period, to monitor the censor Shen Yu, Yuan Wailang triphone Guarantee Bank. remember this. ” These two information, the first year of Qianlong enamel for the Office was due to a lack of people and into the new.
When the enamel Qianlong porcelain white porcelain body still Jingdezhen Kilns Factory. Such as the Construction Section of the file record, “two days of the Qianlong emperor in May, the eunuch edicts have come Hairball: ocean looking Yourself and Yuanwai Lang Tang and the other to the white porcelain enamel firing to firing some. Khin this.” Qianlong period painting and drying enamel porcelain firing, a large number of court in the Beijing Office was enamel to complete. There are exceptions, such as the Construction Section of the file record, “Qianlong three years on June 25, eunuch Gao Yu AC porcelain 174. Imperial order: pay and firing porcelain Office Tang … … a further five multicolored enamel 1 inch ceramic plate, bowl an eight multicolored enamel dark, closing smaller, also firing. Khin this. ” Obviously, these colorful ceramic plate, bowl is finished painting factory in Jingdezhen Kilns, Drying burning Road both processes.
China Painted Pottery Basin with Dancing Pattern
Excavated by the Sunjiazhai land site of Majiayao Culture, it vividly draws the picture of a group dance attended by 5 people, which is a masterpiece of painted pottery. The figures in the design may be males praying for the prosperity of the nation or celebrating some special festival.
China has never discontinued its observation and recordation on astronomical phenomena since old times. For instance, a lot of the numerous colorful pottery artifacts excavated from the Ruins of Yangshao Culture in Dahe Village, Zhengzhou, Henan were found painted with the sun, moon and star designs, which have endured over 5000 years till today.