The sample Of Dr Iwan E-book”The Beauty Of Simple Perfect Early ceramic Collections”

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The Beauty Of simple perfect

 early Blue White Ceramic Collections


Created By

Dr Iwan Suwandy,MHA

Private Limited E-Book In CD-rom Edition

Special For Senior Collectors

Copyright @ 2012



I am starting collecting antique ceramic from 1976 when on duty at Solok West Sumatra. Every Sunday I went to my father and mother in law house at Padang Panjang for rest from my full time work.

After went to the church I visit Bukittinggi the beautiful city and I found there many antique ceramic there, I stil remember some native minangkabau trader like Aladin shop, Mr Datuk(in memoriam) and his son Man Datuk(now he atill trading at Bali) retc

I learn to identification the guinined antique ceramic collections from them, and after that I seeking the antique ceramic book auctions white many rare ceramic informations.

I am hunting the rare best  ceramic collections  and also artifact for basic study of the rare scarce early ceramic from china,Japan,Thailand and anamis also euro.

I have upload Some of my collections in my web blog


After that I creting the limited E-book In CD-Rom edition special for Senior collectors as the guide for arranging their collections and help them from the fullish fake repro traders.

After almost 40 years experienced I decided to collect the very best ceramic collections and made the CD-rom  Of that collections The Chinese Imperial Ceramic Found in Indonesia which the sample I have upload at my web blod, and now this the sample of my new e-book CD-Rom

The Beuaty Of Simple Perfect Early Ceramic Collections

I hope this information wuill help the collectors to choose the future collections which will be more valuable collections in the future

Simple,perfect and best colour MBlue yuhunchuping vase decoration

This Only the sample Of CD=rom, the complete Cd exist but only for premium member, I f you want to get that CD please subscribed via comment  of the web blog

Jakarta October 2012

Dr Iwan Suwandy,MHA




Please compare flower decoration left Anamese vs right Yuan -style


Best perfect decoration


Bold dark blue bead jarlet


Best style flower decoration


The beast and the beauty,s red flower body decorations

Best dark red body decoration
Dark brown red bold body decoration (anamese?)
Darkred splash body decoration
Simple perfect red decoration
simple decoration with bright red colour

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Blue and White Oriental Porcelain: A Guide to Changes and Styles

by priceminer (11/11/09).

Top of Form

Bottom of Form


“Of a strong build, suitable for export and of good material, with a clear white body often left unglazed on a flat base. The glaze is thick and rather bubbly, and the blue is of a bright violet tone.”

— R.L. Hobson,author and Chinese Ceramics Specialist, British Museum, 1915.


A stoneware water pot with underglaze blue splashes, Tang Dynasty (618-907).

The technique of painting a color under a glaze first developed during the Tang Dynasty (618-907), when celadon enjoyed great popularity. (The Song also delved into some aspects of underglaze porcelain). Although this new decorative style was initially considered vulgar and unworthy of the educated, underglaze painting evolved and matured. The most important period is the Yuan, due to scarcity. Considering the difficulty with firing, some beautiful pieces were produced but few pieces come on to the market.

In simple terms, the unfired porcelain is left to become dry enough to handle, then painted in under glaze cobalt blue (or copper red or iron black). The items are put aside so the paint can dry, and then dipped in or brushed with glaze prior to firing in the kiln. This basic method has been refined over time, as potters sought to remedy the many flaws that spoiled early production. Ironically, those telltale flaws characteristic to one or another period, are of most help in dating Chinese porcelain.

The development of underglaze blue to decorate white porcelain began on a regular basis and with great skill at Jingdezhen in the Yuan period, and was perfected during the Ming Dynasty. Until the Ming, the blue pigment—called cobalt—was imported exclusively from Persia (present day Iran, where the color Mohammedan blue come from) but fortunately a native cobalt was discovered in the early part of the Ming era.


A Ming Dynasty celestial globe vase with dragon and floral de

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sign from the Yung-lo reign (1403-24).

Within this important era, blue and white porcelain underwent several variations in manufacture. The most vital innovation relates to the modulation in the blue pigment, which can range from a grayish, washed-out blue to blue-black to a brilliant blue.


Other variations are the individual glazes, the variety of shapes, the style of decoration, and the calligraphy of the Imperial reign marks.

The dating of early blue and white Chinese porcelain made some headway when Oxford research scientists discovered that the Persian cobalt has no manganese, yet the Chinese cobalt contained a high proportion of manganese oxide. In effect, blue and white wares containing traces of manganese cannot be earlier than Ming. As no blue and white piece can be genuinely attributed to the reign of Hongwu, the first Ming emperor (1368-1398), most pieces are classed as “early 15th century.”

Under the Ming ruler Yongle (1403-24) production of blue and white porcelain flourished, and under his Imperial patronage, a wide range of archaistic floral, fruit and vine motifs and styles ensued, including an occasional Islamic decoration. This period is artistically rich, maintaining the devotion to floral emblems and their significance which had prevailed from early ages in China. In particular, the lotus, chrysanthemum and peony were most popular, used with foliate or geometric borders or rim decoration. Later reproductions of Yongle wares are difficult to distinguish from originals except under expert scrutiny. Reign marks are rarely found on Imperial pieces until the Xuande- era.


Yongle characteristics include good, sturdy shapes and curved bodies, with attractive and restrained decoration. If it is a double-sided piece, the decoration is usually similar on both sides. The color is intense violet blue with numerous small dark flecks, and the glaze is very soft and smooth but with the “orange peel” effect of small brown flecks caused by iron impurities.

The classic period in the development of blue and white Oriental porcelain is considered to be the Xuande reign (1426-35), when the marking of ceramics became established practice and a number of innovations occurred. The variety of shapes expanded to include not only dishes but bowls, wine cups, ewers, flasks, vases, lidded boxes and jars, and utensils for Buddhist ceremonial offerings—all richly decorated in the typical blue-black pigment associated with early Ming wares. The glaze has a thick texture, little light reflection and fewer impurities. With the change to the native cobalt, the blue alters to a more subdued color than at the beginning of the century.

An exciting range of shapes and forms came from the Xuande era, which is characterized by a bluish white glaze (usually more uniform than on past porcelain).


Minute flecks still occur but are less visible, and the flower scroll decoration is more conventional in style than at beginning of century. Representations of Taoist symbol (mythical characters), the Eight Precious Objects, the Three Friends (pine, prunus, bamboo), phoenix and sacred fungus, among other subjects, are prevalent. The dragon is always vigorously painted, spreading his tail and claws very dramatically against a plain white ground.

After Xuande there was a 20-year interregnum as the successive three emperors appear to have had no interest in ceramics—no more than a few pieces bearing a reign mark from the mid-century. It was to be redressed by Chenghua (1465-87), who revitalized blue and white. Technically, Chenghua pieces are superior, although the former decoration was somewhat curbed due to the taste of the Emperor who followed the dictates of his concubine Wan, and eunuchs.


A Ming Dynasty underglaze blue bowl from the Chenghua period.

Chenghua decoration lacks vitality, but has a greater sophistication and effeminacy. The designs become more naturalistic as flowers become swirling wreaths with leafy tendrils, and these designs are sometimes painted on the inside of pieces.


There is a new artistic direction as scenes of children or comic figures appear, greatly contrasting with the rest of the decoration; these pieces bear no marks.

Repeated shapes are characteristic of Chenghua pieces, although fragile flared bowls called “palace bowls” are also a characteristic product. Reign marks (nienhao) in two vertical rows are written within a circle or rectangle.

The Hongzhi ruler (1488-1505) continues the wares of previous reigns, with the same classical themes but a less lively depiction. The blue is grayish and varied, with the six characters written under the base in two ways; the characters are small and unevenly spaced, or written larger and in a regular form. Some unmarked bowls decorated with children’s games appear in this period.

The classical period of blue and white Oriental porcelain concludes with the Zhengde ruler (1506-21), when examples range from superb to mediocre. Some later pieces reflect an Islamic innovation, as Arabic or Persian script and quotations from the Koran are used. At the time, Muslim eunuchs and a number of Muslim communities within China held sway at court, and it is thought their influence was reflected in this new decoration. It is seen on small pieces such as writing utensils, candlesticks, vases and screens. Such pieces always have the dynastic mark written in six characters.


A Jiajing period Ming Dynasty square dish.

In the Jiajing reign—from 1522 to 1566—blue and white porcelain was characterized by a brilliant rich blue, and decorations of Taoist symbols such as the Eight Immortals or the shou dominate. In everyday pieces we see children’s games, dragons, phoenixes and floral motifs depicted.

Due to economic conditions, Jingdezhen was forced to reduce its output during the Longqmg reign (1567-72). Lan Pu describes it thus: “The clay is adhesive and rich. The body partly thick, partly thin. The technique of manufacture is excellent …. the glaze is lustrous, thick like a layer of fat.”

Blue and white wares produced in the Wanli reign (1573-1620) are characterized by a fine body, a brilliant glaze and deep violet-blue decoration¬—although such pieces are rare. The shapes become a little different from earlier forms, and a return to archaistic shapes signals a decline in creativity. There are repeating themes of dragons, Eight Precious Objects, etc., but also a more vital depiction of figures in everyday life. Delicate pieces such as stem cups and incense burners attributed to Wanli are seen bearing the marks of Xuande or Chenghua.


The popularity of blue and white Oriental porcelain was supported by the burgeoning export industry, which widely transported its wares. Products were mainly Chinese, but vast orders from foreign countries were generally fashioned for the foreign tastes and designs of countries in Europe, the Near East and Japan.

Chinese reign marks did not become established practice for marking ceramics until the Xuande reign (1426-35). The six characters are precisely written, placed either under the base in two vertical lines or near the outer rim in a single horizontal line. The top two characters are the emperor’s second name (left) and the character for “great” (right).

The middle characters name the dynasty, and the lower two characters are “made in the reign of …” and the emperor’s first name. It is not accurate to date Chinese porcelain using reign marks. While no doubt some deliberately meant to deceive’ usually it was a simple case of tribute—some potters who admired a previous golden age are known to have reused those marks as a form those marks as a form of respect

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Chinese ceramic ware shows a continuous development since the pre-dynastic periods, and is one of the most significant forms of Chinese art. China is richly endowed with the raw materials needed for making ceramics. The first types of ceramics were made during the Palaeolithic era. Chinese Ceramics range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilns, to the sophisticated Chinese porcelain wares made for the imperial court. Porcelain is also occasionally called “china” in English.

This could be divided into: Imperial porcelain “Guan yao – Imperial kiln/ware” ;Ordinary porcelain “Min yao – peoples ware”


Imperial kiln/ware – Guan yao
With this we mean “porcelain specifically made for the Chinese Emperor and the Imperial household”. If we forget the really old stuff and focus on the white bodied stoneware we in the west call porcelain the first specifically “Imperial” kiln was set up in Jingdezhen during the Yuan dynasty (1279-1368 ). From then on, during the Ming and Qing dynasties, “Imperial porcelain” was ordered from and made by this separate Imperial kiln – located at Zhushan (Pearl Hill) in the city of Jingdezhen, Jiangxi province, where still today a thriving porcelain industry is fully functioning.

Peoples ware – Min yao
Most of the Chinese porcelain we see today are “Min yao – min=peoples yao=ware”, mostly bowls and all kinds of pieces connected to the way of life. This kind of porcelain have not changed very much over the years and might therefore be hard to date properly.

Types of Chinese porcelain wares


Tang Sancai burial wares

Sancai means three-colours. However, the colours of the glazes used to decorate the wares of the Tang dynasty were not limited to three in number. In the West, Tang sancai wares were sometimes referred to as egg-and-spinach by dealers for the use of green, yellow and white. Though the latter of the two colours might be more properly described as amber and off-white / cream.

Sancai wares were northern wares made using white and buff-firing secondary kaolins and fire clays. At kiln sites located at Tongchuan, Neiqui county in Hebei and Gongxian in Henan, the clays used for burial wares were similar to those used by Tang potters. The burial wares were fired at a lower temperature than contemporaneous whitewares. Burial wares, such as the well-known representations of camels and horses, were cast in sections, in moulds with the parts luted together using clay slip. In some cases, a degree of individuality was imparted to the assembled figurines by hand-carving.


Jian tea wares

Jian blackwares, mainly comprising tea wares, were made at kilns located in Jianyang of Fujian province. They reached the peak of their popularity during the Song dynasty. The wares were made using locally won, iron-rich clays and fired in an oxidising atmosphere at temperatures in the region of 1300 °C. The glaze was made using clay similar to that used for forming the body, except fluxed with wood-ash. At high temperatures the molten glaze separate to produce a pattern called hare’s fur. When Jian wares were set tilted for firing, drips run down the side, creating evidence of liquid glaze pooling.
At the time, tea was prepared by whisking powdered leaves that had been pressed into dried cakes together with hot water, (somewhat akin to matcha in Japanese Tea Ceremony). The water added to this powder produced a white froth that would stand out better against a dark bowl. Tastes in preparation changed during the Ming dynasty; the Hongwu Emperor himself preferred leaves to powdered cakes, and would accept only leaf tea as tribute from tea-producing regions. Leaf tea, in contrast to powdered tea, was prepared by steeping whole leaves in boiling water – a process that led to the invention of the teapot and subsequent popularity of Yixing wares over the dark tea bowls.
Jian tea wares of the Song dynasty were also greatly appreciated and copied in Japan, where they were known as tenmoku wares.


Ding ware
Ding ware was produced in Ding Xian (modern Chu-yang), Hebei Province, slightly south-west of Beijing. Already in production when the Song emperors came to power in 940, Ding ware was the finest porcelain produced in northern China at the time, and was the first to enter the palace for official imperial use. Its paste is white, generally covered with an almost transparent glaze that dripped and collected in “tears,” (though some Ding ware was glazed a monochrome black or brown, white was the much more common type). Overall, the Ding aesthetic relied more on its elegant shape than ostentatious decoration; designs were understated, either incised or stamped into the clay prior to glazing. Due to the way the dishes were stacked in the kiln, the edged remained unglazed, and had to be rimmed in metal such as gold or silver when used as tableware. Some hundred years later, a Southern Song era writer commented that it was this defect that led to its demise as favoured imperial ware.Since the Song court lost access to these northern kilns when they fled south, it has been argued that Qingbai ware was viewed as a replacement for Ding.


Ru ware
Like Ding ware, was produced in North China for imperial use. The Ru kilns were near the Northern Song capital at Kaifeng. In similar fashion to Longquan celadons, Ru pieces have small amounts of iron in their glaze that oxidize and turn greenish when fired in a reducing atmosphere. Ru wares range in colour—from nearly white to a deep robin’s egg—and often are covered with reddish-brown crackles. The crackles, or “crazing,” are caused when the glaze cools and contracts faster than the body, thus having to stretch and ultimately to split, The art historian James Watt comments that the Song dynasty was the first period that viewed crazing as a merit rather than a defect. Moreover, as time went on, the bodies got thinner and thinner, while glazes got thicker, until by the end of the Southern Song the ‘green-glaze’ was thicker than the body, making it extremely ‘fleshy’ rather than ‘bony,’ to use the traditional analogy . Too, the glaze tends to drip and pool slightly, leaving it thinner at the top, where the clay peeps through.


Jun ware
Jun ware was a third style of porcelain used at the Northern Song court. Characterized by a thicker body than Ding or Ru ware, Jun is covered with a turquoise and purple glaze, so thick and viscous looking that it almost seems to be melting off its substantial golden-brown body. Not only are Jun vessels more thickly potted, their shape is much more robust than the fine Jun pieces, yet both types were appreciated at court of Emperor Huizong. Jun production was centered at Jun-tai in Yüzhou city, Henan Province.


Guan ware
Guan  ware, literally means “official” ware; so certain Ru, Jun, and even Ding could be considered Guan in the broad sense of being produced for the court. Strictly speaking, however, the term only applies to that produced by an official, imperially run kiln, which did not start until the Southern Song fled the advancing Jin and settled at Lin’an. It was during this period that walls become so thin and glaze so thick that the latter superseded the former in breadth. As the clay in the foothills around Lin’an, was a brownish colour, and the glaze so viscus, ‘’Guan’’ ware became known for its “brown mouth”  indicating the top rim or a vessel where the glaze is thinner and the body shows through.

Guan ceramics have been much admired over the years, and very subject to copy. Indeed Gao Lain spends the greatest part of his commentary on describing Guan and its partner Ge ware , as though that were the most troublesome, least easily identified type of pottery.


Ge ware
Ge , literally means ‘big-brother’ ware, because legend has it that of two brothers working in Longquan, one made the typical celadon style ceramics, but the elder made ge ware, produced in his private kiln. Ming commentator, Gao Lian claims that the ge kiln took its clay from the same site as Guan ware, which is what accounts for the difficulty in distinguishing one from the other . Overall, Ge remains somewhat elusive, but basically comprises two types—one with a ‘warm rice-yellow glaze and two sets of crackles, a more prominent set of darker colour interspersed with a finer set of reddish lines (called chin-ssu t’ieh-hsien or ‘golden floss and iron threads’, which can just faintly be detected on this bowl: . The other Ge ware is much like Guan ware, with grayish glaze and one set of crackles. Once thought to have only been manufactured alongside Longquan celadon, per its legendary founding, Ge is now believed to have also been produced at Jingdezhen.

While similar to Guan ware, Ge typically has a grayish-blue glaze that is fully opaque with an almost matte finish . Its crackle pattern is exaggerated, often standing out in bold black. Though still shrouded in mystery, many specialists believe that Ge ware did not develop until the very late Southern Song or even the Yuan. In any case, enthusiasm for it persisted throughout the Ming; Wen Zhenheng preferred it to all other types of porcelain, in particular for brush washers and water droppers . Differences between later Ming imitations of Song/Yuan Ge include: Ming versions substitute a white porcelain body; they tend to be produced in a range of new shapes, for example those for the scholar’s studio; glazes tend to be thinner and more lustrous; and slip is applied to the rim and base to simulate the “brown mouth and iron foot” of Guan ware.


Qingbai wares
Qingbai wares were made at Jingdezhen and at many other southern kilns from the time of the Northern Song Dynasty until they were eclipsed in the 14th century by underglaze-decorated blue and white wares. Qingbai in Chinese literally means “clear blue-white”. The qingbai glaze is a porcelain glaze, so-called because it was made using pottery stone. The qingbai glaze is clear, but contains iron in small amounts. When applied over a white porcelain body the glaze produces a greenish-blue colour that gives the glaze its name. Some have incised or moulded decorations.

The Song dynasty qingbai bowl illustrated was likely made at the Jingdezhen village of Hutian, which was also the site of the Imperial kilns established in 1004. The bowl has incised decoration, possibly representing clouds or the reflection of clouds in the water. The body is white, translucent and has the texture of very-fine sugar, indicating that it was made using crushed and refined pottery stone instead of pottery stone and kaolin. The glaze and the body of the bowl would have been fired together, in a saggar, possibly in a large wood-burning dragon-kiln or climbing-kiln, typical of southern kilns in the period.


Blue and white wares

Following in the tradition of earlier qingbai porcelains, blue and white wares are glazed using a transparent porcelain glaze. The blue decoration is painted onto the body of the porcelain before glazing, using very finely ground cobalt oxide[mixed with water. After the decoration has been applied the pieces are glazed and fired.

It is believed that underglaze blue and white porcelain was first made in the Tang Dynasty. Only three complete pieces of Tang blue and white porcelain are known to exist, but shards dating to the 8th or 9th century have been unearthed at Yangzhou in the Jiangsu province. It has been suggested that the shards originated from a kiln in the province of Henan. In 1957, excavations at the site of a pagoda in the province Zhejiang uncovered a Northern Song bowl decorated with underglaze blue and further fragments have since been discovered at the same site. In 1970, a small fragment of a blue and white bowl, again dated to the 11th century, was also excavated in the province of Zhejiang.

Starting early in the 14th century, blue and white porcelain rapidly became the main product of Jingdezhen, reaching the height of its technical excellence during the later years of the reign of the Kangxi Emperor[38] and continuing in present times to be an important product of the city.

The tea caddy illustrated shows many of the characteristics of blue and white porcelain produced during the Kangxi period. The translucent body showing through the clear glaze is of great whiteness and the cobalt decoration, applied in many layers, has a fine blue hue. The decoration, a sage in a landscape of lakes and mountains with blazed rocks is typical of the period. The piece would have been fired in a saggar  in a reducing atmosphere in a wood-burning egg-shaped kiln, at a temperature approaching 1350 °C.


Blanc de Chine
Blanc de Chine is a type of white porcelain made at Dehua in the Fujian province. It has been produced from the Ming Dynasty (1368–1644) to the present day. Large quantities arrived in Europe as Chinese Export Porcelain in the early 18th century and it was copied at Meissen and elsewhere.
The area along the Fujian coast was traditionally one of the main ceramic exporting centers. Over one-hundred and eighty kiln sites have been identified extending in historical range from the Song period to present. 
The porcelain body is not very plastic but vessel forms have been made from it. lists the following types of product: figures, boxes, vases and jars, cups and bowls, fishes, lamps, cup-stands, censers and flowerpots, animals, brush holders, wine and teapots, Buddhist and Taoist figures, secular figures and puppets. There was a large output of figures, especially religious figures, e.g. Guanyin, Maitreya, Lohan and Ta-mo figures.


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Collections Identifications


Famille Verte Bowl,Kangxi.

Large Kangxi Charger – Documented Museum Exhibit

A LONQUAN Celadon Dish, Song Dynasty

Ming dynasty blue & white cover jar, 16th C.

A YUEYAO Jar, Southern & Northern Dynasty

Wu-Cai bowl, Kangxi.

Green Glazed Jar, Han Dynasty

Bencharong Porcelain Bowl, 18th C. For Royal Thai.

San-Cai Bowl,Kangxi.

Painted Cizhou Wine Jar, Yuan Dynasty

Polychrome Big Charger,Ming Wanli.

Blue & White Plate,Jiaqing Era,1796-1820

Museum Quality Pottery Jar, Han Dynasty


A San-cai small bowl,Tang Dynasty

Magnificent White Glazed Tripod Plate, Tang Dynast

Green Glazed Pottery Ink Stone, Tang Dynasty

A Rare Green Glazed Pig, Tang Dynasty.

Museum Quality Pottery Jar, Western Zhou.

Blue & White tea-caddy,Ming Dynasty.

YUEYAO Cup & Dish set,Southern & Northern Dynasty

Qing-Bai high foot cup, Yuan dynasty 1280-1368.

Blue & White Bowl, Ming Dynasty

Green Glazed Figure, Kangxi period

Carved Blue & White Bowl, Yuan Dynasty

Painted Cizhou Bowl, Song Dynasty

Carved Yingqing Dish, Song Dynasty

Blue & White Bowl, Ming Dynasty

Carved Yingqing pot, Southern Song Dynasty

White Glazed Octagonal Cup, Yuan Dynasty

Celadon small cup, Jin Dynasty

Carved Celadon Bowl, Ming Dynasty

Carved Celadon Washer, Yuan Dynasty

Carved Celadon Bowl, Yuan Dynasty

Swatow Blue & White Charger, Ming Dynasty

White Glazed Small Bowl, Ming Dynasty

Neolithic painted pottery jar, YangShao culture.

Blue & White Jar, 16th C. Ming Dynasty

Very Rare Armorial Plate with Xuantong Mark, 1910.

Dayazhai Yellow-Ground Bowl, Tongzhi to Guangxu.

Yellow Ground Bottle Vase,Ming Dynasty,Jiajing Era

Doucai Dish, Yongzheng period. Qing Dynasty.

Blue & White Bowl, Ming Dynasty

Blue & White Bowl, Ming Dynasty

Qing Bai Bowl, Song Dynasty

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Dr Iwan collections click,r:1,s:74,i:314






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Han Dynasty
Incense Burner (green glaze)
22 cm h




Han Dynasty
Vase (green glaze)
41 cm h



Han Dynasty
Vase (green glaze)
45.5 cm h



Sui Dynasty
Water Bottle (green glaze)
32 cm h



Yuan Dynasty
Jar (blue & white underglaze)
9 cm h



Ming Dynasty
Jar (blue & white underglaze)
7.5 cm h



Ming Dynasty
Bowl (blue and white underglaze)
6.5 cm h



Ming Dynasty
Blue and White Covered Jar
7 cm h



Yuan Dynasty
Kendi (early Dehua white glaze)
10.7 cm h



Yuan Dynasty
Covered Box (early Dehua white glaze)
15 cm d



Yuan Dynasty
Bowl (early Dehua white glaze)
5 cm h







1)Tang Dinasty



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 READ MORE CLICK,r:5,s:0,i:85







TANG DYNASTY (618-907)



Enlarge & Zoom

Price Realized (Set Currency)


  • Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees or application of buyer’s or seller’s credits.


$6,000 – $8,000

Sale Information

Sale 2427
Fine Chinese Ceramics and Works of Art Part I and Part II Including Property from the Arthur M. Sackler Collections
24 – 25 March 2011
New York, Rockefeller Plaza

Lot Description

TANG DYNASTY (618-907)
With rounded sides rising from the flared foot to the slightly everted rim, the center of the interior decorated with a grouping of small five-petalled flowers with blue-splashed petals and amber centers below eight sections of blue stripes at the rim, all reserved on a straw glaze that continues over the rim atop a white slip that ends mid-body to expose the buff-colored body
6 3/8 in. (16.1 cm.) diam.


Acquired in Hong Kong in 1987




The repro Collections

Eric Scollon Ceramic Sex Toys



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2)Sung Dinasty


No Yet collections found

3)Yuan Dinasty

Dr Iwan Have this yuan cup found at West Borneo


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Look click,r:14,s:119,i:169


 Look click,r:14,s:119,i:169,r:1,s:101,i:70



Please compare flower decoration left Anamese vs right Yuan -style


Best perfect decoration


Bold dark blue bead jarlet


Best style flower decoration

Qingbai in Chinese literally means “clear bluewhite“.

Look click,r:9,s:155,i:269

Yuan Cup(Dr Iwan collections)

Look click,+early+anamese+tran+dynasty+W.Blue+ceramic&hl=en&biw=1360&bih=559&tbm=isch&tbnid=lUPYi3wCz9T_HM:&imgrefurl=,r:18,s:0,i:126







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Artifact Yuan ceramic click,r:14,s:73,i:357


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December 24, 2009 by uniquecollection


Indonesia repro with bluur flower decoration


Please compare flower decoration left Anamese vs right Yuan -style



Best perfect decoration



Bold dark blue bead jarlet



Best style flower decoration

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December 24, 2009 by uniquecollection


Simple bottom decoration


Upper part of cloud decoration in the body



simple best cloud decorations



Best blue and style flower decoration in the body



Best perfect spout,s dragon decoration



Best and perfect neck-body border key fret decoration



Bold Necklet decoration



Simple necklet decoration



Simple bold neck decoration



Simple neck decoration



Simple inner mouth decoration

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December 24, 2009 by uniquecollection


The best moulded imperial dragon of Qingbai yubunchuping ewer


Simple,perfect and best colour MBlue yuhunchuping vase decoration

Simple perfect best Qingbai colour imperial dragon spouted decoration

Another type of very rare yuan ceramic was the Qing Bai light blue green colour, many of this type ceramic with moulded and incised decoration, not mony fine condition Yuan Qingbai found in Indonesia and must be carefull to the repro and restored item. Some of the best IMUCS private collection will put in IMUCS cyabermuseum, please jion the collector choice t0 chooese with one the best item compared with your owncollections.

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December 24, 2009 by uniquecollection


Simple,perfect and best colour MBlue yuhunchuping vase decoration

The very rare blue of Yuan ceramic were import from the middle east that is why called Mohhamedan Blue or Sunipo (please read the information in this blog”The unique red and blue Yuan-Ming ceramic collection”. This type of colour  was first use during  Yuan Dynasty very beautiful like Saffir blue and use for imperial court or give to the friedly King. In Indonesia still hard to find the guinine and fine conditions item, many brokken restored and must be carefull to the repro one. The artifact were IMUCS private collection found in Indonesia, we will put some of the best collector choice in our IMUCS Cybermuseum, please collector to choice which one the best collection with your comment especilly compared with your own collections.

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The beast and the beauty,s red flower body decorations

Best dark red body decoration
Dark brown red bold body decoration (anamese?)
Darkred splash body decoration
Simple perfect red decoration
simple decoration with bright red colour


simple decoration with bright red colour

Very dificult to produce the red in glazed ceramic, the collour gradation from best ruby red, red brown, and brown depend on the firing technology that is why during Yuan dynasty  didn’t produced for daily used, only the best red colour used in the imperial court and some as the given to friend’s King or Sultan, please look carefully verious exciting red colour from our artifact collectiions found in Indonesia. Please comment and choose the best one to put in the IMUCS cybermuseum. Thank very much to joined the collector choice program.

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December 23, 2009 by uniquecollection


Simple bottom decoration


flower bouqet body decorations



Dark red flower body decoration



simple redbrown body decoration



Neck,mouth and lips of red yuhunchuping vase yuan dynasty


simple bracelet neck decoration

RED IN GLAZED YUAN DYNASTY CERAMIC WERE THE VERY RARE CHINESE ART WORKS. In Indonesia until this day not much gunine items found, at Central Musuem Jakarta have only two items yubunchuping vase without neck and mouth. Many new reproductions from China and Indonesia have seen this day, to help the collector for identified their collections , IMUCS cyber musuem will put some best illustrations of our artifact collections. I hope all colectors all over the world to choose from some illustations the best one  to put permanetly in our cybermusuem, and you will joined our collector choice program.

Dr, Iwan S.

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December 23, 2009 by uniquecollection


I just write the new topic of Unique collections,”ARTIFACT”, in 2005 the first time someone from Canada asking me the sheard of Chinese Ming ceramic, he told me that he had made the study of Ming Ceramic design of decoration especially Blue and White early Ming, when I asked him for what, to know the accurate style,art and symbol of MIng traditional , that the answers. Several days after that ,my friwnd told me he want to by one dollars per sheard. I don.t understand about that type of collections, but I starting to write the book of early Ming Ceramic , and I understand that very rare and very difficult to found the guinine items in good condition ,alway many news repro/copy , that time from emperor Hsuante, Ceng Hua until Cheng Te the ceramic production only for imperial used ,  the collectors can read in this block about Red and Blue Yuan- Ming ceramic. In the years 1985, DR Mc Kinnon had meet me , and I show him some of my Early Ming Sheard , he told this collections were name The artifact, items could told us the fact of History , beside Ceramic another kind of artifact like metal, wooden,etc. He asked me to keep all artifact, and he send me the ceramic artifact he found at Kota Cima Medan and old Bantam sites.

I will show you my artifact of veryrare collections, one by one, starting with ceramic, ” veryrare Red and  Blue-  white yuan artifact” because very difficult and very expensive items in good condition, I hope collectors will compare with their collections, and then choice with of the artifact you never seen and very best art to keep in our IMUCS-Iwan masterpiece Unique collections-Cyber museum”  your choice will showed in your name like Aung-Aung Sarawak rare coins, and other collector who joined the Collectors choice will choice the best one items, and every years we will choose the best ten and put permanently in IMUCS cyber museum  with the collector names, and we will give an unique collection prize.

Dear Collectors,  artifact of very rare collections, were one type of unique collections biside  phillatelic, numicmatic,ceramic, Books ,Document,hotography. zmedal, Label etc . Please continually look at our unique collection blog by Dr iwan S. and you will found verbal and visual information to compare with your collections, and add information about the history related to that collections.

One day, I hope this blog will be the best blog of Unique collections and anykind informations about rare and unusal items related to you homeland history especilally Asia area , if someone have a new information please contact us, and asking in the comment about the rare information you need, and we will shere between the collectors of over the world to seek the answer of your questions, all free.

At least Merry christmas and Happy new year,I hope the new seasons will gave you happiness, healt and also the new best unique collections.

Sincerely yours

Dr Iwan S.

PS. now look at Artifact of very rare Red Yuan ceramic, full will close up illustration from our artifact collections, please comment and choose the best one, who know you will win our exciting prize.


4)Ming Dinasty


Read more click,r:13,s:0,i:110

Related Ceramic click




The blue and white porcelain ‘palace bowl’, Ming dynasty, Chenghua mark and period, 1465-1487, is one of only nine examples of this type and design, seven of which are in museums. Its impeccable provenance includes the distinguished collection of Lord Cunliffe. The interior and exterior are delicately painted with stems of scrolling day lilies. From the time of its manufacture, the porcelain produced at Jingdezhen during this period has been judged as perhaps the finest ever made. The products tend to be small, presumably to the exacting taste of the Chenghua emperor. Although his reign was not especially long (22 years), the quantity of shards at Jingdezhen in this period – representing destroyed pieces that had been rejected as unworthy – is apparently much greater than for any other comparable period.



Look more click,+early+anamese+tran+dynasty+W.Blue+ceramic&hl=en&biw=1360&bih=559&tbm=isch&tbnid=UZUnL5Uqmk543M:&imgrefurl=,r:7,s:21,i:162




Related collections click,+early+anamese+tran+dynasty+W.Blue+ceramic&hl=en&biw=1360&bih=559&tbm=isch&tbnid=wWzvfDpMXVFIDM:&imgrefurl=,r:6,s:36,i:208



Still want to look another collections please click,+early+anamese+tran+dynasty+W.Blue+ceramic&hl=en&biw=1360&bih=559&tbm=isch&tbnid=UORXHGZLflUe5M:&imgrefurl=,r:6,s:67,i:309



And also click,+early+anamese+tran+dynasty+W.Blue+ceramic&hl=en&biw=1360&bih=559&tbm=isch&tbnid=DXwinVHXUB4vKM:&imgrefurl=,r:7,s:67,i:312



And click,+early+anamese+tran+dynasty+W.Blue+ceramic&hl=en&biw=1360&bih=559&tbm=isch&tbnid=XMj_zavzTVdEoM:&imgrefurl=,r:13,s:83,i:383



 And more click,r:15,s:284,i:53


 And still want more click,r:11,s:0,i:106







From Artifact creation


Look click,r:1,s:27,i:161



These unique earrings are inspired by ming dynasty pottery shards found on an archaeological dig. They are completely one-of-a-kind and would make a great gift for your girl friend or mother – or anyone interested in wearable history or archaeology!

An added bonus of these earrings is that they are lightweight and could easily go with a wide range of outfits and styles. This is because the earrings are casual yet feature ornately drawn designs in a deep blue that goes with many colors.

The earrings are eco-friendly since they are made from re-used porcelain and affixed to silver earring hooks. The edges of the earrings are lined in silver and are each about 1.5 inches long including the porcelain and the silver hook.

Add these earrings to your cart for a thoughtful yet cheaply priced gift!

The collectors can asked dr iwan from His Collections,pleae contact via comment what kind of design you need



Best Writing Pen Unique Company Gifts Chinese Ceramic Gel ink Pens

Read more click


5)Qing Dinasty

Look click,000-69,999/59700/59746b.jpg&w=288&h=235&ei=K6pwUMy_L4aNrge1-4H4BA&zoom=1&iact=hc&vpx=493&vpy=196&dur=10654&hovh=188&hovw=230&tx=86&ty=84&sig=117954604287720468075&page=2&tbnh=163&tbnw=200&start=24&ndsp=19&ved=1t:429,r:9,s:24,i:177




Antique 19thC Chinese Blue + White Porcelain Ink Well


1)Sukotai Period


Sukhothai – Si satchanalia / Sawhankalok l…


Si Satchinalia lidded box from the early Kingdom of Sukhothai which would have formed part of modern day Thailand. This is an interestingly decorat



Look click,r:10,s:0,i:104

2)Ayutthya Period



C,Early Anamese  Ceramic(Vietnam)


 early anamese tran dynasty W.Blue ceramic



Look click,+early+anamese+tran+dynasty+W.Blue+ceramic&hl=en&biw=1360&bih=559&tbm=isch&tbnid=S0WvYj9hc7Op9M:&imgrefurl=,r:0,s:0,i:70









1)Delf blue-white ceramic


Read more click








2)Meissen Blue-White ceramic


Showcase :

The Meissen Porcelein Collections Exhibition

Frame One :

The Meissen Porcelein Found In Indonesia Exhibition


Read more click

The End @ Copyright 2012

Sorry this sample  were not edited and some cannot show the illustrations, the amizing colplete Cd-Rom exist, to get it you must subscriebed  to be premium member via comment


6 responses to “The sample Of Dr Iwan E-book”The Beauty Of Simple Perfect Early ceramic Collections”

  1. Pingback: The Chinese Imperial Ceramic Artwork Found In Indonesia(continiu) | Driwancybermuseum's Blog

  2. Salam Dr.Iwan,

    Saya telah membaca artikel yang dokter tulis sangat inspiratif untuk menjaga kelestarian sejarah. Boleh minta tipsnya ga bagaimana cara membedakan barang sejarah atau bukan.
    Terima kasih.


      terima kasih sudah mampir diblog saya
      koleksi sejarah adalah segala bentuk informasi yang terkait dengan sejarah termasuk koleksi keramik dan barang seni,filateli,numismatik,fotografi,dokumen dan sebagainya silahkan anda klik
      saat ini saya sedang menampilkan contol buku saya yangberjudul’KOLEKSI SEJARAH INDONESIA
      contoh ini akan diupload secara bersambung sehingga seluruh info terkait mulai dari pra sejarah,abad 1 sa,pai abd 20 terakhir tahun 1967 dapat anda saksikan,belajarlah dari sejarah agar tidak mengulang kesalahan yang sma dan memanfaatkan hal positif untuk dikembangkan dimasa mendatang
      Dr Iwan Suwandy,MHA

  3. Halo Dr. Iwan,

    Saya mulai tertarik barang antik sekitar 3 bulan lalu, terutama keramik China. Beberapa kali saya mampir di toko-toko antik melihat lihat, tetapi saya tidak tahu mana yang asli dan mana yg asli. Saya mulai mencari referensi di internet tentang keramik tersebut. Akhirnya saya ketemu blog Bapak. Yang ingin saya tanyakan, adakah buku-buku referensi (terutama dalam bahasa Indonesia) yang bisa saya dapatkan/beli untuk menambah wawasan saya tentang keramik.
    Saya lihat di blog Bapak ada jual CD Rom tentang keramik China. Apakah cocok buat saya yang pemula dan apakah ada yang dalam bahasa Indonesia? Dimana saya bisa dapatkan CD Rom nya ?
    Sebelumnya saya ucapkan terimakasih.


    • halloHandy
      terima kasih telah mampir di web blog saya
      CD-Rom motif keramik kerajaan Tiongkok yang ditemukan Di Indonesia , hasil penelitian saya masih ada, harganya lma ratus ribu rupiah
      kalau mau pesn hubunggi saya liwat email
      Jangan lupa mengupload kopi KTP anda dan alamat rumahnya lengkap dengan nomor tilpon serta riwayat hidup singkat anda, ini penting untuk menghidari
      penipuan liwat internet
      Transfer liwat ATM BCA, sesudah transfer anda harus upload kopi bukti transfer
      Anda harus berjanji tidak akan membuat kopi dan memperlihatkan info ini pada orang lain , terutama pedagang karena
      nanti mereka tahu dan harga jadi mahal dan kita tidak bisa lagi membelinya.
      CD ini dalam bahasa inggris yang sangat sedrhana , saya sangka anda pasti akan mampu membacanya, bila tidak dapat diterjemahkan liwat google translate
      saya tunggu emailnya
      terima kasih
      Dr Iwan Suwandy,MHA

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