Catalog: Antiques: Regional Art: Asian: Chinese: Porcelain (27)

These roughly potted Jizhou tea bowls embody the Song aesthetic and have always been highly sought after. The body is of conical form and burnt ochre at the foot. The lovely calligraphic design has a lovely freedom to it. It is splashed on in a very painterly way, representing prunus blossom with a sketchily painted moon in the sky above. These Jizhou tea bowls, along with Jian Kiln tea bowls, were of the prized tea ceremony wares among Song literati. Ex...

A stunning piece of Qingbai porcelain like this one is rare to find nowadays. The glaze has a rich bluish green colour which offers a jade like effect. With its impressed lotus motif on the exterior of the body, this bowl is dated to the Yuan dynasty when these floral patterns were common. The incised design is very assured and full of vitality. Diameter: 15.5 cm. Condition: Good. No chips, no repairs...

With a lustrous, light blue glaze all over, this beautiful Qingbai cosmetic box represents the high standard that Qingbai porcelain achieved in the Southern Song Dynasty (1127-1279). It is in the form of fluted chrysanthemum petals and on the cover there is a single chrysanthemum flower moulded in the centre. Diameter: 8.5 cm Condition: Excellent, no chips, no cracks...

This lovely, well potted Qingbai saucer dish with light green glaze has a central moulded decoration of two fish, swimming freely through aquatic plants. The pattern around the fish is known as Lei wen or yun lei wen (Cloud or Rolling Thunder/Cloud Pattern), it symbolized life (rain) and good wishes. Diameter: 14 cm. Condition: Good...

Diameter: 13.97 cm Condition: Good. Two Chinese characters marked at the base: Wu Zhai. Price: USD $120; CAD $160 (13% HST will be applied on all sales in Canada).

A must-have Qingbai porcelain piece. Diameter: 13.8 cm Condition: Good, no chips, no repairs. A small firing crack at the base.Price: USD $100; CAD $135 (13% HST will be applied on all sales in Canada).

Produced in the Kangxi period (1661-1722), this fine plate was intended for the export market and painted in the fashionable Japanese style. Jingdezhen's monopoly on porcelain production was broken in 1616 when Japanese potters at Arita figured out how to produce their own porcelain wares. These were exported to the outside world from the port at Imari, and their dramatic combination of underglaze blue with overglaze red and gold proved an enormous success...

With a lightly crackled white glaze, this beautiful Dehua porcelain kendi is tending to a light blue Qingbai effect, where it has pooled, over a beautiful white translucent body. It has a long curved spout, a flared rim, and a bulbous body molded with a floral design. These kendis were made mainly for the growing export market in island Southeast Asia. They were used as pouring vessels in Buddhist rituals. This is very early Blanc de Chine, and the porcelain has a lovely softness to it...

Celebratory porcelain cups (often rather pretentiously called libation cups) with a translucent creamy white glaze over the high-fired perfectly white paste, Dehua, China, late Ming Dynasty, c 1630-1650. The form is that of a rhinoceros horn cup. The decorative appliqués on the larger one show a four-clawed dragon emerging from a cloud, a tiger and a stag standing beneath plum and pine branches. There is a crane, too, on the smaller cup...

A very nice little jar with a thick geyao glaze. it dates to the end of the nineteenth century. Diameter: 7.1 cm. Condition: Very good.

This small but fine piece belongs to the Maklaiheung's QingBai Collections. About Qingbai Wares: "The special characteristic comes from the body, which is natural porcelain clay, and its glaze, which is made by diluting in water the porcelain body material mixed with lime." "Rims on qingbai bowls and dishes were also sometimes fitted with a silver band in the same manner as the Northern Ding wares, to cover the unglazed rims."- Gotheborg Condition: Good...

A small Qingbai brush washer from Song Dynasty (960 - 1279 AD). Dia: 12.7 cm Condition: Good. No scratch or crack on surface.

This little Qingbai bowl brings a refreshing feeling with its creamy minty light blue glaze. Condition: Good. Diameter: 14.9 cm.

This is a superb and rare Yaozhou ware russet porcelain vase, brown glaze over a grey-white paste, Northern China, Song or Jin dynasty, 960-1234. Russet- or persimmon-glazed wares from Yaozhou were probably first made to imitate dingyao pieces, but the yaozhouyao glaze fires with a uniquely metallic lustre, as in this example. The paste on the footring and the unglazed base has fired to a rich creamy-colour, which is quite common with these brown-glazed wares...

This finely enamelled bowl features two pheasants resting on peony branches on a rich coral ground(Yanzhihong). A Kangxi Yuzhi Mark (A mark in underglaze blue within a double square) is at the base but most likely it is a 19th century to early republic piece. Dia: 15.3 cm, H: 7.7cm Condition: Excellent, no chips, no cracks or sign of repairs.

This is a possible Jiajing piece as it has a purple undertone and no black spots, which was common for Jailing porcelain (During the Jailing period, the formula that was used to produce blue and white porcelain was generally low in iron and manganese which produced an undertone of purple). Inside this lovely bow, it depicts a scholar wearing high hat on a deer which is called “Lu Gao Sheng”. “Lu Gao Sheng” are phonograms of “deer”, “High, tall” and “To raise”...

Yuan dynasty is the time when Zaju (Variety show ) begins to take over people’s entertainment life. This adorable porcelain figure captures a Zaju character riding a horse with a typical Shusheng(Scholar, usually a young one) hat in Zaju (Later adopted by Peking Opera).This porcelain figure is well painted with variety of colour. The horse has a red decoration on its head suggests this is a young scholar who had made a success in Keju (Imperial examinations) and he is riding the horse returni...

It was not until the Qing dynasty that the Jingdezhen potters finally mastered the production of this very difficult bright black enamel glaze. Unfortunately, these vases were frequently fired a third time overpainted with intricate gold enamel patterns, but the plain monochromes are much more achieved. The very elegant form of this vase with its long neck and compressed body derived ultimately from Han bronze models, and became especially popular in Qianlong times. This example has an underglaz...