Significant Ceramics in the Collection
There are eight ceramic pieces that stand out in the collection either for being
significant in their own right, or for providing an insight into an art historical/or
historical element of Chinese life. There are four earlier ceramic pieces dating from
the Yuan dynasty to the Ming dynasty (A.D.1280 - 1644) (Plates 1-4), and four pieces
dating from the Qing dynasty (A.D.1644-1911) (Plates 5-8).
Yuan dynasty (A.D. 1280-1368), Anxi or Nan'an Kiln, Fujian or Anhui Province,
China
34/1951/3
A Qingbai type bowl with incised and combed decoration, with mark on base.



‘Qingbai' means ‘bluish-white'.
Qingbai wares are recognisable for their thinness of body, and pale blue
glazes over incised or impressed decoration.
From the 10th Century Qingbai wares were made from porcelain stone
unmixed, however from the 12th-14th Centuries, kaolin was added to porcelain
stone to increase the smoothness and plasticity of the material.
Yuan or Ming dynasty (A.D. 14th-15th century), Fujian Kiln, China
105/1927
A southern celadon type bowl with combed incised decoration and a greenish-brown
glaze.
Ming dynasty (A.D. 1368-1644), possibly Huo or Jiexin Kilns, Fujian Province,
China
34/1951/2
A bowl with a five-lobed rim and brownish glaze
17th century, Ming dynasty (A.D. 1368-1644), China
29/1940/18
A sculpture decorated in overglaze alkaline enamels of turquoise, and dark blue
depicting one of the three star gods of Daoism, Shou Xing (Shou Lao).
The alkaline glazes of turquoise and dark blue are the combination of colours used in
the Fahua style. Shou Lao has a characteristically large domed cranium, and he has
lobed ears and a long beard. By his left foot is what remains of a crane, and by his
right foot a tortoise; both emblems of longevity. His left hand is holding a scroll and
his right hand touches a deer. There is a label on the underside stating ' god of
benevolence in Jungwood, blue, Ming', and 'Walter Carter Harrods Ltd, SMITH 103
Southport'
1780's, Qianlong reign, Ch'ing dynasty (1644-1911),
Guangzhou (Canton), China
55/1923
The scenes on one side of the punchbowl depict the Hongs at Guangzhou (Canton)
overlooking the Pearl River.
The Hongs were groups of Chinese built buildings that served foreign traders as
residences, trading offices, and warehouses.
Above the hongs are flags flying to represent the various nationalities trading at the
time. Separating the Hongs from the river
is Respondentia Walk, the only unsupervised area that foreigners could enjoy in
Canton. The river is full of Sampans.
On the other side of the bowl is a European scene with a cathedral. The inside edge
of the bowl is decorated with
polychrome enamels depicting various nationalities working with rope. The
punchbowl is currently being conserved. This piece is
significant in that it is rare to see punchbowls decorated wholly in the overglaze
enamel pink.
1730's-1740's, Qianglong reign, Ch'ing dynasty (1644-1911)
China
K62/1 & 2
Two chargers decorated in overglaze polychrome decoration (famille rose)
Two chargers decorated in overglaze pink and green enamels. The well of the
chargers are decorated with two song birds on a prunus tree (associated with Chinese
New Year). Connecting the well and flange are various motifs such as a vase with
blooming flowers which suggests wealth. There is also a tall thin vase which is
known as a 'ping'. It is a rebus as when pronounced it sounds the same as peace. The
bamboo in the vase symbolises fertility especially for a boy. Beneath the tall vase is a
weapon known as a 'ji', which looks like a spear. This is another rebus as the word 'ji'
has the same pronounciation as the word for auspicious.
The combination of the vase and the sword is an emblem of peace. There is also a
basket of flowers with a sword, again a peaceful emblem. There is also a set of
clappers which represent harmony as the clappers cannot work without each other.
The rims of the chargers are bordered with the fleur-de-lis pattern. The underside of
the chargers is decorated with four floral sprays.
1740's, Qianlong reign, Ch'ing dynasty (1644-1911)
China
K155 1-10
The duck egg white glaze and the perfection of the pink overglaze enamel point to the
date given. The scene at the centre of each well is of a scholar's studio and a garden
pavilion. Inside the scholar's studio is an incense burner, books, scrolls and a ruyi
sceptre. In the garden is a lingzhi fungus, which is perceived as magical fungi with
healing properties. On the table there is a vase of flowers and the Buddha's citrus
otherwise known as the Buddha's hand. The flowers are perceived as creating ‘a
world within a world'. There is also a crane, which is the emblem of longevity. The
flange is decorated with a ruyi sceptre, a teapot and a fan made of goose feather,
which has the connotation of a relaxed, well composed scholar. These objects are
alternated with lingzhi fungus, coral and scrolls.
1730's-1740's, Qianlong reign, Ch'ing dynasty (1644-1911)
China
378/06
A soup plate decorated in overglaze polychrome decoration (famille rose) depicting a
scene from 'Romance of the West Chamber'.
The Romance of the West Chamber (written by playwright Wang Shifu ca.12601336) is one of the most famous Chinese theatrical works. The story is as follows:
Scholar Zhang and Cui Yingying (Prime Ministers daughter) meet at a Buddhist
temple and fall in love. Due to class differences they must hide their feelings. Cui's
family run into difficulties and Zhang bravely comes to the rescue, however Cui's
mother breaks the promise of giving her daughter up for marriage to Zhang. Zhang
leaves the capital to rise to a higher rank in officialdom. After 3 years he becomes a
scholar-officer in the imperial court, and proposes to Yingying. The couple only
come together with the help of Red Girl (Yingying's maidservant), who trick Madame
Ciu into blessing the marriage (Vivian Ting 12/04/07). The scene depicted on a scroll
in the well of the plate shows Cui and the Scholar exchanging verses secretly. The
stars and moon are also depicted. As noted by Ting it represents the code of the
drama ‘may lovers unite in harmony despite any trial they would have gone through'
The flange of the plate is decorated with a gourd, an emblem of one of the eight
immortals of Daoism and a symbol for good health, and a ruyi sceptre, which signifies
the notion ‘as you wish, in accordance with your hearts desire'.