BW-06024 Jar with underglaze-blue illustration of Oath of the peach garden.

Yuan dynasty (1279-1368), Hu-tian kiln, Unmarked.

Height: 28.6cm, Mouth diameter: 20.8cm, Foot diameter: 19.8cm, Interior foot diameter: 0.1cm     Weight:5645g
This ware has been cleansed with Oxalic Acid to remove dirt and viscidities to restore its original luster for collection and preservation.

 

Reference(Ware form):

1. Ma, Xi-gui. “Picture 65: Jar with underglaze-blue decoration of fish and aquatic plants in lotus pond” Chinese Blue and White Porcelain, Shanghai: Shanghai Gu Ji, 1999, p.57.

2. Wang, Qing-zheng. “Picture 155: Jar with underglaze-blue decoration of clouds and dragons from Ching-Te-Cheng” Chinese Ceramics 11-Yuan (Part II), Taipei County: Ji-Xiou, Jun. 2000, p.144.

Formed by adhering two halves, this jar featured an erect mouth, round belly, and flared foot. In Yuan dynasty (1279-1368), mass clay production made use of binary formula. This innovation increased the quantity of alumina in the clay thus making it more tolerant to high firing temperature and consistent to shaping. Nevertheless, a more stable formation meant reduced plasticity. For this reason, larger wares were manufactured by joining separately shaped parts.

Towering waves were painted below the mouth rim while lotus scrolls decorated the shoulder. Illustration ofOath of the Peach Gardenwas drawn with bamboos, pines, willows, stones, clouds and plantain leaves on the body. Lotus petals encircled the base.

                                               

Figure based ornamentation for underglaze-blue porcelains in Yuan dynasty shared close ties to advancements in drama and printing; prominent historical figures were the most popular subjects. 

Reference(Clay jointing):

1.Liu, Liang You. Research of Antique Porcelain, Taipei: Youth Culture, Jan. 1988, p.170.

Reference(Decoration):

1. Wang, Yu-qing. “Picture 47-58: Male robe and Qu-ju robe” Chinese Clothing Catalogue, Taipei: world geography, Jun.1984, p.42-46.

2. Wang, Qing-zheng. “Picture 177: Pear-shape bottle with underglaze-blue illustration of figure from Ching-Te-Cheng-costume” Chinese Ceramics 11-Yuan (Part II), Taipei County: Ji-Xiou, Jun. 2000, p.161.

3. Wang, Qing-zheng. “Picture 181: Pear-shape bottle with underglaze-blue illustration of figure from Ching-Te-Cheng-plants” Chinese Ceramics 11-Yuan (Part II), Taipei County: Ji-Xiou, Jun. 2000, p.165.

Five characters portrayed in the Oath of the peach garden.

Liu Bei, Guan Yu, and Zhang Fei were in the first scene.

In 184 a.d., the Yellow Turban Rebellion broke out in the last remaining days of Han dynasty (206 b.c.-220 a.d.). Liu Bei, Guan Yu, and Zhang Fei, patriots of Han, were committed to rid the nation off the uprising threat. With a traditional ritual, they swore to be brothers and to answer the emperors calling. The ceremony took place in the backyard of Zhangs house in March when peach blossomed.

In the second scene, Zhang Shi-ping and Su Shuan were horse dealers who paid a visit to the brothers and were touched by their inclination to suppress the revolt and save common people.  The dealers donated horses, and monetary goods in aid of the brothers.

Wardrobe and accessories depicted in the illustration:

Figures wear long robes with deep cut, V neck style collars. The style of hats was from late Tang dynasty. These garments were not period pieces but costumes worn by actors in Yuan dynasty (1279-1368).

Reference(Story and Costumes):

1.  Wang, Yu-qing. Chinese Clothing Catalogue, Taipei: world geography, Jun.1984, p.84.

2.  Shao Hong. “Oath of the peach garden” Romance of The Three Kingdoms- Confronting Dragon with Tiger, Taipei: Shi-bao Culture, Mar. 1981, p.1-4.

3.  Luo, Guan-zhong. “Oath of the peach garden” Romance of The Three Kingdoms, Taipei: Wen-yuan, 1977, p.1-4.

Partial glaze peeling appeared around the rim of the mouth due to fragile bonding. 

Reference(Glaze Separation):

1.  Liu, Ru-shui. Appreciation of China, 2nd Ed. Shu- chuan, Aug. 2004, p.7.

Imported pigment revealed a gorgeous indigo blue with diffused spots. Brownish black iron rust with metallic reflection appeared at pigment accumulated areas. 

Transparent glaze was in slightly tinged blue. 

Reference(Iron rust spots):

1. Li, Hui-bing. Appraisement Foundations of Chinese Porcelain, Beijing: Forbidden City, 2001, 223-224.

According to binary formula, Ma-cang clay was mixed with porcelain clay to produce a grayish white compound with lots of impurities and was dry and loose in nature. Large numbers of air holes, sand holes, and black spots were visible.

 

Reference(Clay):

1. Zhang, Pu-sheng. Blue and White Porcelain Appraisement, Beijing: Beijing Library, Jan. 1995, p.46.

2. Li, Hui-bing. Appraisement Foundations of Chinese Porcelain, Beijing: Forbidden City, 2001, p.66.

 

Underglaze appeared indigo with yellowish brown metallic iron rust reminiscent of iron oxide on the glaze surface.