- Gallery Text
Chinese ceramic wares made in Song dynasty (960–1279) court taste are esteemed for their refined forms, subtle decoration, and soft, muted glaze colors. Buoyed by national peace, economic prosperity, and the rise of a highly educated civil official class, local ceramics industries throughout China began to thrive and innovate at unprecedented levels.
Kilns seeking to supply household wares to their highly cultured clientele often created pieces that were reminiscent of other precious items. For example, northern Ding wares, with their decorative designs and thin bodies, were often compared to silverwork, while the thick green glazes coating southern Longquan wares brought carved jades to mind. Although natural forms were popular, like those inspired by flower blossoms, government officials, who had attained their positions through long study of ancient texts and history, were especially drawn to ceramics that resembled the bronzes and jades of antiquity. Courtly taste in China would change drastically after the Song, shifting toward brightly decorated blue-and-white porcelains, invented at Jingdezhen in the fourteenth century and manufactured at the same kilns that produced the delicate blue-tinged white wares known as qingbai.
- Identification and Creation
- Object Number
- Circular Bowl with Notched Rim and Scrolling Lotus Decor
- Work Type
- 11th-early 12th century
- Creation Place: East Asia, China, Hebei province, Quyang
- Song dynasty, Northern Song period, 960-1127
- Persistent Link
- Physical Descriptions
- Ding ware: porcelaneous white stoneware with ivory-hued glaze over incised decoration. From the Ding kilns at Quyang, Hebei province.
- H. 6.5 x Diam. 22.4 cm (2 9/16 x 8 13/16 in.)
- Dr. Arnold Knapp, New York (by 1956), bequest; to Fogg Art Museum, 1956.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Dr. Arnold Knapp
- Accession Year
- Object Number
- Asian and Mediterranean Art
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- Publication History
Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 38, p. 40
- Exhibition History
Masterworks of East Asian Painting, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 11/03/1995 - 06/09/1996
Plum, Orchid, Chrysanthemum, and Bamboo: Botanical Motifs and Symbols in East Asian Painting, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 07/06/2002 - 01/05/2003
Rocks, Mountains, Landscapes and Gardens: The Essence of East Asian Painting ('04), Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 01/31/2004 - 08/01/2004
A Compelling Legacy: Masterworks of East Asian Painting, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 08/24/2004 - 03/20/2005
Forging the New: East Asian Painting in the Twentieth Century, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 05/03/2005 - 10/16/2005
Downtime, Harvard University Art Museums, Arthur M. Sackler Museum, Cambridge, 04/28/2007 - 04/20/2008
Re-View: S228-230 (Asian rotation: 7) Art of the Fan: China, Korea, Japan, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 11/18/2011 - 05/05/2012
32Q: 2600 East Asian, Japanese, Chinese and Korean, Harvard Art Museums, Cambridge, 11/16/2014 - 01/13/2020
- Subjects and Contexts
Google Art Project
This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at email@example.com