Fine More Source for Chinese fine arts and antiques, Asian Arts and Antiques

fine more articles and items at this web

Featured Fine Chinese Arts and Antiques (Asian Arts and Antiques)

Chinese antiques porcelain, Chinese antiques ceramics
Chinese antiques jade, Chinese antiques

Song Dynasty Longquan Ware Porcelain Buddha Niche

Add to Cart:

$399.98

Ask a question
Always Free Shipping

  • Model: AD2621
  • Shipping Weight: 4.7lbs
  • 1 Units in Stock

Song Dynasty Longquan Ware Porcelain Buddha Niche

Image gallery (click and see the details)

Item Description

here is one Longquan Ware Porcelain Buddha Niche

  • Height: 12 inches, width: 7 inches,
  • Weight : 4.7 lbs,
  • Condition : good,
  • origin:I have bought this piece from one antiques store in ChinaTown Boston in 1997. I have been one lover of asian culture sine 1990, specially in Culture of China, through these years I have bought some repeat items and also my interest point has been changed fron one issue to another frequently, so I can sell out some of items and also can share my collection with you guys.

Art&Culture of Longquan Kiln

Click here for details

Click here for more Longquan Ware Reference

The porcelain of Longquan ware represented a great school of southern celadon that arose in the Song Dynasty (960-1279). It was manufactured in fairly vast areas in the southwestern part of East China's Zhejiang Province. The sites of former celadon kilns and workshops are found throughout the counties of Lishui, Suichang, Yuehe, Qingtian, and Longquan on the upper Oujiang River, with Longquan as the production center. There were also many kiln sites in Pucheng along the Songxi River in the northern part of East China's Fujian Province.

Since Longquan County was under the administration of Chuzhou, some records referred to Longquan kilns as Chuzhou kilns, and Longquan celadon as Chu ware. The region was rich in materials for porcelain manufacture: good-quality porcelain clay; purplish gold earth containing metal ore for preparing glaze ingredients; inexhaustible pine firewood; and plenty of water from the many rivers. Despite mountainous barriers, the Oujiang River was navigable throughout the year, crossing Lishui and Qingtian to Wenzhou and Yongjia to reach the sea. Longquan celadon made rapid progress in the Song Dynasty due to its close contacts with commercial cities and towns as well as with foreign trade. It had a good market in different parts of China and dozens of other countries and regions.

Archaeological workers investigating Longquan celadon producing areas discovered the sites of 300-plus porcelain kilns and workshops. The center of ancient Longquan porcelain was around Dayao in Liutian Town, where the workers made scientific excavations at selected spots. During the Song Dynasty, the "dragon" kilns, 50 to 80 meters long, yielded close to 10,000 bowls and other vessels at one firing. Liutian Town reportedly had 72 kilns in full-time operation, indicating a flourishing porcelain trade. Unearthed were simple and crude rectangular workshops, large and small brick-covered grounds for washing raw materials, and many hard stone pestles (club-shaped instrument) and iron implements for pounding china stone, as well as rectangular earthen ovens. In addition, the remains of potters' huts were found in the living quarters.

The finds at the excavations show that manufacture of Longquan ware celadon started on a small scale in the Northern Song Dynasty(960-1127). The vessel shapes and glaze colors at this initial stage show this celadon followed the tradition of the Yue ware celadon in the Tang Dynasty(618-907) and the Five Dynasties and Ten Kingdoms Period (907-960).

Influenced by Yue celadon technology, Longquan celadon developed in the Northern Song Dynasty. The representative works at the time were double-handled ewers (large wide-mouthed water jugs) with covers, ewers with multiple spouts, vases with blossoms, and bowls, all bearing stamps indicating their manufacture in 1080. Longquan celadon excelled after theSouthern Song Dynasty. Longquan ware was also called Di (younger brother) ware. It was said that two brothers, the elder named Zhang Sheng the First, and the younger Zhang Sheng the Second, were skilled at porcelain making, with their wares being greatly acclaimed among the people.

The Annals of Chuzhou Prefecturestates: "Zhang Sheng the Second directed Liutian kiln. We do not know when he lived. All vessels from Zhang Sheng the Second's kiln were remarkably blue and transparent, without blemish and like finejade. A single vase or bowl often cost more than ten taels (approximately 12 ounces) of silver."Of Chinese southern celadon, Southern Song Longquan ware boasted the best craftsmanship. Blue-green glaze was of many varieties, the best being kingfisher green, powder blue, and plum green. The paste was white with a blue tinge, fine, compact, and durable. The main vessel shapes were bowls, plates, shallow basins, vases, jars, and alms bowls.

Click here for More Articles about Longquan Kiln


Background knowledge: Art&Culture of Northern and Southern Song Dynasty

Click here for details

The Song dynasty (960-1279) was culturally the most brilliant era in later imperial Chinese history. A time of great social and economic change, the period in large measure shaped the intellectual and political climate of China down to the twentieth century. The first half of this era, when the capital was located at Bianliang (modern Kaifeng), is known as the Northern Song period.

The early Northern Song dynasty witnessed the flowering of one of the supreme artistic expressions of Chinese civilization: monumental landscape painting. Retreating to the mountains to escape the turmoil and destruction that occurred at the end of the Tang dynasty (618-906), tenth-century recluse-painters discovered in nature the moral order that they had found lacking in the human world. In their visionary landscapes, the great mountain, towering above the lesser mountains, trees, and men, was like "a ruler among his subjects, a master among servants." Later, Song court painters transformed these idealized images of nature into emblems of a perfectly ordered state.

An important outgrowth of Song political unification after the war-torn Five Dynasties period (907-60) was the creation of a distinctive style of court painting under the auspices of the Imperial Painting Academy. Painters from all parts of the empire were recruited to serve the needs of the court. Over time, the varied traditions represented by this diverse group of artists were welded together into a harmonious Song academic manner that valued a naturalistic, closely descriptive portrayal of the physical world. Under Emperor Huizong (r. 1101-25), himself an accomplished painter and calligrapher, imperial patronage and the ruler's direct involvement in establishing artistic direction reached a zenith. While maintaining that the fundamental purpose of painting was to be true to nature, Huizong sought to enrich its content through the inclusion of poetic resonance and references to antique styles.

The momentous political shift during the early Song - from a society ruled by a hereditary aristocratic order to a society governed by a central bureaucracy of scholar - officials chosen through the civil-service examination - also had a major impact on the arts. As a ruling elite, these Neo-Confucian scholars regarded public service as their principal calling, but factional strife sometimes forced them to retire from political engagement, during which time they often pursued artistic interests. Dissatisfied with the rigidity and oversophistication of early Northern Song calligraphy, eleventh-century scholars sought to revive the natural, spontaneous qualities of more archaic models. The literati also applied their new critical standards to painting. Rejecting the highly realistic descriptive style followed by the professional painters of the Imperial Painting Academy, they also departed from the official view that art must serve the state. Instead, the amateur scholar-artist pursued painting and calligraphy for his own amusement as a forum of personal expression.

In 1125, when the Jurchen, a seminomadic people from northeast Asia, invaded Song China and captured the capital at Bianliang (modern Kaifeng), founding their own Jin dynasty in the north, the Song court reestablished itself in the south in Hangzhou, where it continued to rule for another 150 years as the Southern Song dynasty.

Southern Song society was characterized by the pursuit of a highly aestheticized way of life, and paintings of the period often focus on evanescent pleasures and the transience of beauty. Images evoke poetic ideas that appeal to the senses or capture the fleeting qualities of a moment in time. One particularly important source of inspiration for Southern Song artists was the natural beauty of Hangzhou and its environs, especially West Lake, a famed scenic spot ringed with lush mountains and dotted with palaces, private gardens, and Buddhist temples.

The Southern Song Imperial Painting Academy continued the stylistic direction and high technical standards established by Emperor Huizong in the early twelfth century. Often executed in the intimate oval fan or album-leaf format, academic paintings - and the imperially inscribed poems that sometimes accompany them - reveal an increasingly narrow, concentrated vision and a commitment to the exact rendering of an object. The cultivation of a tranquil and detached mind free of material entanglements was a common concern of Song Neo-Confucian philosopher Zhu Xi (1130 - 1200): the "investigation of things leading to the extension of knowledge."

The decorative arts also reached the height of elegance and technical perfection during the Southern Song. Like painting, the plastic arts responded to two different aesthetics - that of the imperial court and that of popular culture. Supreme among the decorative arts of the Song period are ceramics, which many connoisseurs consider the highest artistic achievement of the Chinese potter.

Free shipping to below location ( please read carefully before you buy it now ):

  • within USA: free shipping to fifty states, we don't free ship items to Guam ,Puerto Rico and other overseas territories of USA
  • free shipping to Canada,
  • free shipping to Japan, Korea, Vietnam, Thailand, TaiWan,Singapore, Philippines,Malaysia,Indonesia,
  • free shipping to UK, Germany, France,Italy,Spain,Netherland,Belgium,Denmark,Norway,Finland,
  • free shipping to Australia, New Zealand
  • We don't free ship items to overseas territories of above any country (such as French Guiana, Guadeloupe, British Virgin Islands, Anguilla and so on), you can contact with me regarding shipping cost.
  • other country and region please advise with me directly
  • the handling and packing time need 1--2 days, we use USPS (united states postal service) -> EMS in China, US customer can tract it at www.usps.com after the package be sent to postal office, you should receive package within 10 days. other international customer can track it at http://www.ems.com.cn/, you should receive package within 10 - 15 days.

Payment

we accept PayPal, Money order, Western Union Wire Transfer, and Bank Transfer payment, if you'd like to use other payment way please contact with us. we will send out your purcahses only after your personal check be cleared if you use personal check.

Store Terms and Return Policy

1. item be damaged during transportation, we strongly encourage you to inspect freight at the time of delivery or pickup for any damage. If you detect damage refuse the freight as damaged. In that way you get full refund smoothly!
2. item be found damaged when you open the package after you take package home or the postman has left your home with your signature on receipt, please contact with us ASAP, you have three days to take photograph of the damaged item and inform me about this by email, over this time limit we won't give any refund.
3. package be verified to be lost during transportation by USPS, you will get full refund.
4. package be returned to us because of any our error or any error from Postal Office, the pacakge will be free resent to you.
5. package be returned to me because of any your error such as wrong shipping address or no people at home over two weeks or you don't pick up the package in time after the postman leave one note at your mail box. you will have to pay the resending shipping cost.
6. 30 day money back:we will gladly exchange, credit or refund your purchase from us if returned within 30 days of the end of sale. To return, one returning shipping address will be provided, you will have to pay return shipping and the item must be returned in its original condition. please mail via insured package service. Also allow 2 weeks for refunding processing.



Add to Cart:

  • Model: AD2621
  • Shipping Weight: 4.7lbs
  • 1 Units in Stock


This product was added to our catalog on Sunday 27 March, 2011.

Your IP Address is: 54.83.167.152

Copyright © 2003 - 2014 Dynasty Antique Company. Powered by Zen Cart | Zen Cart Theme by UKTNET © 2009.