KERAMIK KERAJAAN TIONGKOK DIINDONESIA (bagian I)

INI ADALAH CONTOH DARI INFO YANG ADA DALAM MUSEUM LELUHUR INDONESIA WANLI DI JAKARTA MILIK KELUARGA SAYA, HANYA KOLEKTOR TERTENTU SAJA YANG AKAN SAYA IZINKAN UNTUK MELIHATNYA, UNTUK ITU HARAP HUBUNGGI SAYA LIWAT EMAIL

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PIRAMID CINA

OLEH

Dr Iwan Suwandy,MHA

Copyright@2015

KATA PENGANTAR

Puji syukur kehadiran Tuhan Yang Mahakuasa atas RAHMAT dan RESTUNYA pada hari yang berbahagia ini saya telah menyelesiakan penulisan sebuah buku yang berjudul PIRAMID CINA.

Buku ini saya tulis untuk keluarga saya , dan Generasi Penerus Bangsa Indonesia khususnya dan Dunia umumnya.

Banyak terima kasih kepada berbagai pihak yang telah memberikan bantuan baik moril maupun materil termasuk anda para pembaca , dengan harapan hasil penjualan buku ini dapat membantu pengembangkan museum yang sudah ada.

Mohon maaf apabila ada kata-kata dan sikap serta pendapat saya yang keliru , maklum penulis bukan pengarang dan juga bukan ahli sejarah, tetapi hanya Sarjana Kedokteran Umum yang sudah tua .

Jakarta , Desember 2015

Dr Iwan Suwandy <MHA

PENDAHULUAN

Tentu pembaca akan heran dan malah pasti banyak akan marah dan protes atas pemakaian judul buku ini PIRAMID CINA , terutama dari Golongan orang Tionghoa seperti saya.

Saya tetap memilih judul ini dan saya juga sudah memperoleh persetujuan dari keluarga saya walaupun mulanya mereka juga protes.tetapi setelah saya jelaskan dengan lengkap barulah mereka merasa senang.

Saya ramalkan buku ini akan menjadi buku paling laris di Indonesia dan mungkin dengan harapan besar di seluruh dunia.

Sebenarnya ini adalah promosi pribadi saya dalam rangka mencari dana bagi Museum saya yang akan saya namakan Museum Leluhur Indonesia WANLI (Iwan dan Lily), Mengapa tidak ditunggu sampai lima puluh tahun ,alasanya terlalu lama dan saya takut akan ketinggalan zaman sebab tahun ini adalah tahun yang paling tepat yaitu dimana orang Tionghoa pasti ada dalam urutan orang terkaya di berbagai Negara di dunia ( saya terpaksa memakai nama ini karena sudah disahkan sbagai bangsa Indonesia Asli, walaupun ada yang mengatakan ia dilahirkan sebagai orang cina, sekali cina tetap cina, anda pasti sudah tahu siapa yang berkata seperti itu).

saya tidak menyembunikan identitas anda bisa baca sendiri di lampiran buku ini , saya hanya ingin agar perhatian anda terpusat kepada topik yang ditulis.

Ada seorang wartawan , yunior dari sekolah saya saat SMA dulu berkata bahwa saya menulis apa adanya dan mengalir begitu saja , maaf dia kurung paham apa topik yang saya tampilkan .

Dulu pernah saya menulis karang yang bersifat ilmiah , tetapi ada yang protes katanya ini artikel untuk umum bukan sebuah laporan penelitian , sebaliknya waktu saya membuat artikel dan buku tanpa catatan kaki dan referensi banyak yang protes katanya informasi anda tidak ada ctatan kakinya sehingga tidak ada manfaatnya.

Memang serba salah, supaya tidak ada protes lagi dengan ini saya menyatakan (kalau pak Harto Menyataken- nostalgia ni ye!!!, simpatisan??? Silahkan dijawab sendiri) bahwa buku ini saya tulis dari pikiran saya sendiri, dari koleksi aya sendiri yang umumnya berusia diatas lima puluh tahun, inilah rahasia keberhasilan saya .sombong ni ye !!!!!!!!

Apa rahasia keberhasilan tersebut , nanti akan saya ungkapkan diakhir buku ini dan Kesimpulan. Ha…hha….hee !!!!???

Mengapa dipilih nama PIRAMID CINA , banyak alasannya sehingga sulit diterangkan satu persatu , yang jelas agar gampang dan mudah diingat ? apakah memang di Cina ada piramid ? nanti akan kita buktikan dari hasil penelitian berdsarkan koleksi yang say miliki, yang jelas bentuknya seperti kerucut kecil diatas besr dibawah , kuat, stabil , antik , kuno , besar kecil tapi unik dan sulit ditemukan, soal harga tererah mau beri berapa , sungguh saya akan adalan lelangan karena edisi pertama buku ini akan diterbitkan sangat terbatas hanya sepuluh atau 10 saja.

Masih kurang paham , penasarn ???!!!! silahkan baca lebih lanjut , tidak sombong tetapi nyata oelksi barang antic saya sedemikian banyaknya sehingga saya tidak mampu   menghitung dan tidak tahu berapa jumlahnya..

Sedikit tentang PIRAMID CINA, saya pilih nama ini karena hampir seluruh bidang yang saya pelajari dan saya kumpulkan ada h8ubngannya dengan piramid cina, arti dapat disusun dari kecil sampai besar, baik jenis dan tipenya, misalnya mangkuk,guci, vase, botol disusun dari kecil sampai besar, kumpulkan prangko yang nominalnya dari paling tinggi sampai kecil baik dalam harga maupun nilai jualnya, saya tidak mau kumpukan info yang tidak ada gunanya, saya namakan koleksi ampah, arti pantasnya dibuang ke Tong sampah untuk diaur ulang bukan di usnahkan, biar masih tetap jadi duit,

Orang Tionghoa atau Cina pasti mengubungkan segalanya didunia ini dengan perimbangan atau seimbang katanya Yin dan Yang , panas dan dinggin, kaya-miskin harus seimbang, karena itu di Korea mereka memakai lambing tersebut, cina sendiri memakai lambing bintang karena mereka ingin merait segalanya setinggi dan sebanyak bintang dilangit, di buat bendera dengan satu bintang besar dan empat bintang kecil(kalau keliru harap dimaafkan, karena saya kurang perhatikan ,saya bangsa Indonesia saya hanya tahu Merah putih saja) bintang besar Tiongkok, lainnya bekas Negara yang dalam kekuaaannya Tibet,Monggol,Taiwan,Hongkong&Macau.

(mohon maaf kalau keliru).

 

 illustrasi tidak diupload !!!!

Siapa bila orang cina teliti, walaupun terkenal sangat pintar, teliti dan tentunya juga sangat pelit, orang cina ternyata maih juga dapat membuat kekeliruan Empat prangko cina yang salah cetak yang sempat beredar, sehingga harganya sangat mahal, maklum ada jutaan kolktornya, salah satu adalah prangko dengan peta Republik Cina, dinamakan China is red (cina merah) ternyata kelupaan memerahkan Taiwan, segera ditarik tetapi terlanjur sudah dijual kepada beberapa orang.

Yang lainnya nanti dikesimpulan akan saya beritahu.

 

KAIMPULAN

Apa rahasia keberhasilan tersebut , nanti akan saya ungkapkan diakhir buku ini dan Kesimpulan. Ha…hha….hee !!!!???

Katanya seperti orang gila yang pernah saya lihat di Bagian Ilmu Penyakit Jiwa pusat rujukan tertinggi di Indonesia bicara mengelantur crita berubah dengan menyambung kalimat akhir yang topiknya sangat beruabah-ubah , anak kucing itu bagus sekali, kucing belang belang beranak belang, orang Talu, saya terkenang dengan akmpung sya, rumah gadang nan sambilan ruang, pusaka bunda sejak dulunya, bila saya kenang , berlinang air mataku, kumakan pisang goring, goring telur pakai sambal, sambal lada enak sekali, kali besar, banjir-banjir, sialan kamu kira saya gila, hahaha?>>!!!.

Apakah memang saya seperti itu silahkan anda nilai sendiri. Tentunya tidak karena bila iya pasti anda gila juga karena mau membaca buku ini.

 

Profesi dan Titel saya Dokter umum dan pendidikan saya sampai S2 saja, mungkin dengan tulisan ini siapa tahu ada yang berkenan memberikan saya titel S3 HC atau lebih tinggi lagi , pangkat minus satu Brigjen ,sombong ne ye ???!!.

Siapa bila orang cina teliti, walaupun terkenal sangat pintar, teliti dan tentunya juga sangat pelit, orang cina ternyata maih juga dapat membuat kekeliruan Empat prangko cina yang salah cetak yang sempat beredar, sehingga harganya sangat mahal, maklum ada jutaan kolktornya, salah satu adalah prangko dengan peta Republik Cina, dinamakan China is red (cina merah)

ternyata kelupaan memerahkan Taiwan, segera ditarik tetapi terlanjur sudah dijual kepada beberapa orang.

Yang lainnya nanti dikesimpulan akan saya beritahu

Sekarang saya beritahu, yaitu prangko Dr Sun Yat sen (pendiri reprklik cina,founding father) terbalik dari framenya, Matahari terbit dibelakang istana (padahal matahari terbit lambing Jepang ,Negara yang tidak disenangi akibat pembantain di Nanking,

Prangko gambar Mao bersama Jendran Li Piao, saat diterbitkan Lin Pao dibenci Mao karena tidak sama pemnikirannya)

Prangko seri monyet warna merah dan monyet hitam, ditarik karena merah lambing Cina komunis dan lambing kaisar cina, jika dipadu dengan monyet anda bisa terka mengapa ditarik dari peredaran

 

Ternyata saat ini masih lebih banyak prangko salah cetak dari Tiongkok tetapi kurang terkenal walaupun demikian harganya juga sudah tinggi seklai, tidak sama dengan prangko Indonesia, jenis dan typenya sangat banyak kecuali zaman hindi belanda, wlapaun demikian saya tetap simpan suatu hari nanti bila Indonesia sudah termasuk sepuluh besar dunia pasti akan tinggi uga hargana, mau tahu, nanti saja ,rahasia ne ye ???!!!!

Lihat prangko slah cetak cina yang paling terkenal sat ini

Salah cetak Taiwan tidak merah

 

Dr Sun Yat Sen salah cetak terbalik

Posisi normal jadi ikut mahal karena diburu semua kolektor cina

Mao dan Lin Piao

 

Seri shio Monyet dengan latar belakang merah yang ditarik dari peredaran

Gamabr Dr Sun tergeser keluar frame

Gambar hilang sebagian ini terlipat saat pencetakan

Sumber Ilustrasi prangko ini terpaksa saya ambil dari google eksplorasi dari lelangan dunia.

Selesai

TEMUAN KERAMIK KERAJAAN TIONGKOK

DI INDONESIA

Bab Pengantar Pertama

*

Oleh

Dr Iwan Suwandy,MHA

Hasil Penelitian kepustakaan dan lapangan

Edisi Khusus Terbatas Buku Elektronik Dalam CD-Rom

Hanya Untuk Kalangan Terbatas

Hak Cipta @ Dr Iwan 2015

*Mangkuk Kontraversial Ming Chenghua yang direpro pada dinasti Qing temuan Indonesia.

 

Pengantar Bagian Pertama

Setelah hampir lima puluh tahung mengumpulkan pecahan dan keramik uthdari berbagai Negara khususnya dari Tiongkok, terutama dar Kerajaan Tiongkok yang di temukan di seluruh Indonesia terutama di Sumatera,Jawa,Kalimantan ,Sulwesi dan Maluku.

Pada hari ini saya memberanikan diri memaparkan hasil penelitian tersebut, semoga hasil temuan ini dapat berguna bagi para kolektor di Indonesia dalam menyususn koleksinya sehingga terhindar dari koleksi barang baru atau Reproduksi yang sangat banyak beredar di Indonesia.

Pada beberapa tahun terakhir banyak ditemukan keramik kerajaan Tiongkok mulai dari dinasti Han,Tang,.Sung, Yuan,Ming dan Qing serta dinasti kecil lainnya diantara dinasti tersebut.

Temuan tersebut baik berupa pecahan yang dapat dijadikan dasar untuk perbandingan keaslian bagi temuan yang utuh.

Saya telah menyusun sebuah CD-Rom yangberisi jenis,type dan desain keramik Tiongkok asli yang pernah ditemukan d ndonesia dibandingkan dengan literature yang ada terutama dari katalogus lelangan.

Dasar penyusunan buku ini saya ambil dari eksplorasi google

Sumber berita

https://iaaipusat.wordpress.com/2012/02/page/2/

Selamat membaca dan melihat koleksi yang saya pernah temukan di Inonesia.

Semoga para kolektor Indonesia jadi lebih semangat dan giat berburu kemaik antic yang dapat memberikan anda suatu kepuasan baik moril maupun materiel.

Tak Lupa saya ucapkan terima kasih kepada berbagai pihak yang telah banyak membantu saya, mohon maaf saya tidak dapat menyebut namanya satu persatu karena berbagai alas an ,juga kepada seluruh keluarga saya.

Buku ini tidak dijual kepada para pedagang karena akan menyebabkan mereka akan menaikan harga secara gila-gilaan seperti lukisan, dan kita para kolektor jadi tidak mampu memilikinya lagi serta hanya akan jadi impian saja. Akhirnya terima kasih saya ucapkan kepada Bunda Maria,dan Tuhan Yang Maha Kuasa atas berkahnya saya mampu memiliki informasi yang amat penting dan langka ini.

CD-Rom ini agak mahal harganya disesuaikan denagn standar info saat ini satu informs US$ 25,- ,walaupun demikian akan saya sesuaikan dengan situasi dengan kondisi di ndonesia, begitu juga jika pembaca ingin melihat museum kecil saya d Jkarta.

Jakarta May 2015

DR Iwan Suwandy,MHA

Pengantar Bagian Pertama

Setelah hampir lima puluh tahun mengumpulkan pecahan dan keramik utuh dari berbagai Negara khususnya dari Tiongkok , terutama Era Kerajaan Tiongkok yang di temukan di seluruh Indonesia terutama di Sumatera ,Jawa,Kalimantan ,Sulwesi dan Maluku.

Pada hari ini saya memberanikan diri menampilkan hasil penelitian tersebut, semoga hasil temuan ini dapat berguna bagi para kolektor di Indonesia dalam menyususn koleksinya sehingga terhindar dari koleksi barang baru atau Reproduksi yang sangat banyak beredar di Indonesia.

Pada beberapa tahun terakhir banyak ditemukan keramik Kerajaan Tiongkok mulai dari dinasti Han,Tang,.Sung, Yuan,Ming dan Qing serta dinasti kecil l diantara dinasti tersebut.

Temuan tersebut baik utuh atau pecahan yang dapat dijadikan dasar untuk perbandingan untukmenetukan keaslian keramik yang utuh.

Saya telah menyusun sebuah CD-Rom yang berisi jenis,tipe dan desain keramik Tiongkok asli yang pernah ditemukan di Indonesia dan dibandingkan dengan Kepustakaan yang ada terutama dari katalogus lelangan.

Dasar penyusunan buku ini saya ambil dari eksplorasi google sebagai Sumber Informasi salah satunya

https://iaaipusat.wordpress.com/2012/02/page/2/

Besar harapan saya para pemegang Hak Cipta tidak keberatan informasi mereka ditampilkan dalam buku ini guna dapat membuka misteri Keramik Kerajaan Tiongkok yang sampai saat ini masih sering diperdebatkan oleh para pakar Keramik Antik di Dunia, Maaf saya belum diakui secara Internasinal kecuali oleh beberapa orang saja dari Idonesia.

Karya Tylis ini dibagi dalam beberapa Buku yaitu

Penagantar teriri dari Kata Pengantar, Daftar Isi,keramik Kontraversil ,

karya tulis tentang Temuan Keramik Kapal Karam Di Indonesia . Kemudian Buku lain berisi   sejarah serta ilustrasi menarik dan info terkait dari setiap era mulai dinasti Han sampai Qing serta Bab Terakhir dari Buku ini meliputi era Republik Nasionalis Tiongkok dan Republik Rakyat Tiongkok .

Demikianlah jerih payah saya selama lebih kurang lima puluh tahun, semoga para pembaca menghormati Hak Cipta Saya, dan pesan khusus untuk seluruh keluarga saya peliharalah temuan yang langka ini walaupun sebagian besar dari dinasti Ming Awal ,Ming Wanli, serta dnasti Qing .

Sebagian koleksi boleh dijual termasuk pecahan (karena pecahan merupakan batu uji yang selama ini kurang diperhatikan, dan ini merupakan salah satu strategi dan taktik untuk berani membeli keramik utuh) dalam rangka membeli bangunan dan penyusun dekorasi museum Leluhur Indonesia WLS atau Iwan(Wan) Lily(Li) dan Sons=anak-anak (Misi) dengan Sasaran Akhir (Visi) agar seluruh generasi penerus kita akan tetap mengenang saya serta leluhur kita semua di Indonesia.

Museum ini boleh dibuka secara umum, hanya tamunya bersifat khusus yaitu kolektor serius dan bonafide dengan system perjanjian ,jumlah tamu terbatas maksimal dan minimal dua orang ditemankan langsung oleh saya atau putra saya atau isteri aya ditemani mantu saya dan tentunya cucu aya setelah mereka tamat seolah ,

Hindarilah para pedagang yang tentunya akan membajak koleksi tersebut serta menyebabkan kehebohan publik, saya tidak mau jadi Figur Masyarakat yang pasti akan mereprtkan kita semua serta aibat-akibat yang akan ditemukan seperti dapat dibaca dalam lampiran pengantar ini.

Buku ini akan dirilis saat pembukaan Museum Leluhur Indonesia WLS (WANLI & SONS)

Selamat membaca dan melihat koleksi yang saya pernah temukan di Inonesia, semoga para kolektor Indonesia jadi lebih semangat dan giat berburu keramik antik yang dapat memberikan anda suatu kepuasan baik moril maupun materiel.

Buku ditulis dalam bahasa Indonesia dan bahasa Inggris sesuai dengan jenis Info yang diperoleh atau sesuai aslinya tidak diterjemahkan agar tidak ada kekeliruan dn buku ini umumnya ditujukan bagi bangsa Indonesia, jika cukup banyak peminatnya akan diterjemahkan kedalam bahasa Inggris secaara keselurhannya.

Tak Lupa saya ucapkan terima kasih kepada berbagai pihak yang telah banyak membantu saya, mohon maaf saya tidak dapat menyebut namanya satu persatu karena berbagai alas an ,juga kepada seluruh keluarga saya.

Buku ini tidak dijual kepada para pedagang karena akan menyebabkan mereka akan menaikan harga secara gila-gilaan seperti lukisan, dan kita para kolektor jadi tidak mampu memilikinya lagi serta hanya akan jadi impian saja.

Akhirnya terima kasih saya ucapkan kepada Bunda Maria,dan Tuhan Yang Maha Kuasa atas berkahnya saya mampu memiliki informasi yang amat penting dan langka ini.

CD-Rom ini agak mahal harganya disesuaikan denagn standar info saat ini satu informs US$ 25,- ,walaupun demikian akan saya sesuaikan dengan situasi dengan kondisi di ndonesia, begitu juga jika pembaca ingin melihat museum kecil saya d Jakarta.

Jakarta Mai 2015

DR Iwan Suwandy,MHA

 

Koleksi kebangaan saya karena yang asli zat pewarna birunya bersal dari Sumatera kampong halaman saya ,walaupun koleksi saya dibuat oleh pabrik dengan merek kejaan Ming Cheng Hua pada Era Qing, saya memilikinya dalam jumlah yang cukup banyak baik bentu,jenis dan tipenya.Maaf jumlahnya tidak ditampilkan bisa bikin geger dan tentu aka nada pengaruhnya terhadap harga paaran internasional.

 

DAFTAR ISI

I, PENGANTAR BAGIAN PERTAMA DAN KEDUA

  1. THE TANG CERAMIC HISTORY COLLECTIONS

III. THE SUNG CERMAIC HISTORY COLLECTIONS

III. YUAN CERAMIC HISTORY COLLECTIONS

  1. THE MING CERAMIC HISTORY COLLECTIONS
  2. THE QING CERAMIC HITORY COLLECTIONS

 

 

 

Keramik Ming Cheng Hua Yang Kontraversil

Chenghua Chicken Cup

Source

taimantis.com/chinese/reason.html

For centuries now, scholars have written on the subject of the illustrious ‘Chicken Cup’ first produced during the reign of the Ming emperor Chenghua (1465-1487).

Almost every book covering the subject of Chinese porcelain mentions the rare cup.

It is reported that there are only fifteen known in existence, mostly in museums, and only three in private hands.

 

Made strictly for the Imperial household, it was said that the later Ming emperor, Wanli (1573-1620), was very fond of the cup.

It is also documented that a pair was known to fetch as much as the equivalent of $10000 US dollars during the end of the Ming reign.

Because of the popularity, copies were produced during various reigns of the later Qing dynasty with both the current reign mark and the apocryphal (or spurious) reign mark.

The latter proving problematic for centuries to the porcelain connoisseur.

It was a well know fact that there were corrupt official within the Imperial Palace, and just as well known that on occasion a piece was ‘smuggled’ out of the Imperial kiln, rather than be destroyed, should it have a minor flaw.

An alliance between the corrupt officials and the head of the kiln created an underground that channeled an occasional piece of Imperial bound porcelain to a non-imperial destination for a nice profit.

 

Though this practice has been documented by both scholars and historians, there has yet to be an authenticated example of a Chenghua chicken cup originating from this source.

This cup provides an excellent example.

 

 

Native versus Imported Cobalt

It’s very important to fully understand the properties of native Chinese cobalt, since it offers one of the best clues to determining authentic Chenghua porcelain. Here is a brief introduction to the subject.

Qing copies show the underglaze cobalt as a much deeper, brighter blue.

There are two varieties of this imported blue. One is known as Mohammedan (or Persian) Blue1, and the other known as Sumatran Blue2.

There is little to differentiate between both of theseimported pigments.

What is key, however, is that both were unavailable during the Chenghua reign, forcing the use of the paler native Chinese cobalt.

Microscopic examination of the properties of the native cobalt reveal a presence of manganese, giving a grayish green tone to areas of accumulation.

This property is not present on later Qing copies (fig 2) since the imported cobalt, being of superior quality and brightness, only required one even layer of application.

1 Mohammedan Blue – also called hui hui ch’ing.

2 Sumatran Blue – also called su-ma-li, su-ma-ni, or su-ni-p’o blue.

 

Flaws and discoloration

To begin with, copies of Imperial ware are made to perfection. Even a slight flaw would immediately flag it as not being of Imperial quality.

It would not be logical for a counterfeiter to produce a copy of the well known cup with any visible imperfection.

The example to the right shows the reign mark being darker in some areas, caused by a thicker application of cobalt.

In contrast, the other areas appear much lighter and pale.

Because of the pale (weak) native cobalt used during the reign, it was often applied generously in an attempt to create a richer, brighter blue.

The subsequent result produced the effect seen on both the mark and that of the exterior cobalt wash areas of this particular cup.

Though a slight imperfection, a definite sign of authenticity.

(Fig 1)

Original Reign Mark.

 

Decoration

Figure 2 shows an example of a later Qing copy. Noticeably different from the authentic Chenghua style is the use of more vibrant enamel coloring and bright blue underglaze.

This is definitely not the trademark of original Chenghua, specifically in the underglaze blue areas where the paler native cobalt was used.

 Another difference in the decoration is the double line border at the base of my cup, versus the single line on most cups pronounced authentic.

Counterfeiters conform to the normal, in this case the single line. A double line would not be used to deceive.

(fig 2)

Brighter colors of a Qing copy.

 

 

Measurements

The above image should be to scale, depending of course on your screen resolution and monitor settings. I made an exact model, then a cut-away to give you a more realistic view. Most original Chenghua chicken cups have the exact same shape and measurements.On the average, they are 8.3 centimeters in diameter, 3.25 centimeters in height. The lip has a slight flair (fig. 3).

 The bowl depth measures (from the lip) 2.5 centimeters down to a very thin2 mm bottom. Many of the Qing copies are lacking the flare to the lip.

 

The footrim is wedge shaped with the inner surface being more vertical to a depth of .5 centimeters.

The outer diameter of the footrim averages 4.25 centimeters, with the inner diameter averaging 3.8 centimeters.

 Many of the Qing copies have almost no discoloration to the exposed biscuit, as compared to the authentic (fig 4).

They also have a brighter white to the clay, versus the softer white (almost ivory) of the authentic.

Another property (or characteristic) is a slight grinding to the lip. There is some debate as to the purpose for this, but it appears to have been done during manufacture. Only a few specimens are known to exist.

This cup does not have that property.

The weight is 1.6 ounces (Avoir) which translates to 45.4 grams.

(fig 3)

(fig 4)

 

Physical Properties

History and documentation on the physical properties of the cup agrees to a thin, delicate body. This cup has that property, with the average potting being 2 to 2.5 mm. thick between the lip and the base. Looking down, one can visibly make out the placing of the reign mark through the body

 

. When holding it to the light (Fig 5), it appears almost transparent.

Microscopic examination of the inner surface reveals signs of wear to the cup. The wear is not manufactured.

I would be suspicious of any Chenghua chicken cup pronounced authentic that clearly displays the properties of Mohammedan or Sumatran blue, and does not have the very thin base and exact measurements.

(fig 5)

 

 

Though it’s my belief that the cup was possibly smuggled out for profit due to the quality of the mark, it is also possible to have surfaced under normal condition.

The image shown to the right (fig 6) is a supposedly authentic Chenghua chicken cup that was on display at the National Palace Museum in Taipei.

 

This mark is actually of lesser quality than that of the one in my collection, furthering my confidence to it’s authenticity.

(fig 6)

 

To sum it all up, I can’t put enough emphasis on the importance of the property of the cobalt itself in determining authenticity.  That’s why I devoted an entire page to it, viewable from my main page. Mohammedan Blue

 

The scholars, such as Hobson, Bushell, and Pope, dedicated their lives to the research and understanding of Chinese porcelain, passing their knowledge on to us.

They have (in my opinion) been totally ignored by the major auction houses when it comes to the famous chicken cup.

It’s documented in the Ming Annals, as well as by the scholars.

Hobson, on page 75 of his book “The Wares of the Ming Dynasty” explains how the imported varieties of cobalt (Mohammedan and Sumatran) had run out by the end of the reign of Xuande, stating:

[Quote]  “so that in the Chenghua period only the ordinary class of blue was used.”.

It was nearing the end of the reign of  Xuande when the last shipment of imported cobalt arrived. This was delivered by the envoys of Samatra in 1434, just prior to the Interregnam Period. Once this supply was exhausted, native cobalt, with its tell-tale sign of manganese, had to be used.

Over fifty (50) years passed with no supply of imported cobalt. It wasn’t until the last year of the reign of Chenghua that the next shipment of imported cobalt arrived.

If you do the math, it was too late to have any impact on the porcelain of the period.

 In fact, it’s doubtful the cup was even being produced in that last year. Only native cobalt was used during the reign of Chenghua.

This actually makes the authentic cup even rarer, since most pronounced authentic by the ‘experts’ display the vibrant blue tones only available after the reign of Chenghua.

These perfect and colorful specimens, though beautiful and also of value, are undoubtedly (in my opinion) from a later period.

 

KESIMPULAN

Temuan Dr Iwan Adalah buatan Dinasti Qing karena ada dua garis di Foot rim atau lingkaran kaki mangkuk , ekor ayam yang asli biru dan repro era qing warnya hitam ,warna lebih terang,dan jenisnya lebih banyak serta ditemukan bersama-sama dengan berbagai jenis vase dengan warna dan tahnik melukis yang sama serta jumlah yang ditemukan cukup banyak ,

syukur Dr Iwan bebanr-benar memperoleh rezeki sehingga mimpinya membuat museum akan segera dapat terealisir.

Lihat contoh koleksi Dr Iwan dibawah ini

 

Dua Garis pada lingkaran kaki mangkuk (double line on footrim), ekor ayam warnya hitam tebal   (yang asli warna hitam satu tebal dua halus atau hijau tiga tebal ) dan kepala serta badan ayam putih (yang asli waran merah) Justru yang repro baru persis sama dengan yang ali yang ada di museum Teipeh Lihat sekali lagi foto yang asli dihalaman berikut

Dinasti Qing

Type 1

Type 2

Dinasti Ming

 

 

Contoh keramik temuan bersama Mangkuk ini adalah beberapa mangkuk yang garisnya double dan lebih tebal serta warnanya lebih terang deari yang asli saya temukan pecahannya atau yang sudah disambung seadanya di Kalimantan Barat.

 

Duocai cup ini memang sangat penting karena dapat merupakan informasi yang sangat penting yntuk mengungkapkan misteri prdagangan keramik saat kaisar Ming Hsuan Te melakakuakn pembekuan (pelarangan) perdagangan keramik atau dikenal dengan dengan Ming Banned, erfta bagaimana sebenarnya perdagangan illegal terjadi baik saat masa dinasti Ming Pertengahan,Cheng HUa, Cheng Te dan Wan Li dengan Portugis.

Serta saat transisi Ming ke Qing dimana banyak ternjadi usaha para pedgang dan begitu juga engan usaha pedagang local Indonesia dan nternasuional memburu keramik ndah langka tersebut, anatara lain mengungkap misteri hilangnya kalap Flor de Mar ,kapal portugis yang tengelam di tembak VOC yang sampai saat ini belum ditemukan, dan hasil jarahan para bajak laut dan perdgangan gelap keramik yang sangat diminati para penguasa dunia saatitu, hypothesis saya mungkin keramik yang saya temukan di Jawa Barat ini adalah keramik milik pedgang local yang diembunyikan di pulau=pulau di kwasan pulau seribu

dan kemudin dijual belikan kepada pedagang Tionghoa yang kemuian menumpuknya di suatu tempat, umumnya dipendam dalam tanah saat perang dunia kedua, dan kemudian di temukan lagi oleh pmiliknya saat merekan mendirinkan rumah tau membeli rumah lama yang sudah hampir hancur, tanda=tanda khusus keramik kerajaan Qing yang membuat keramik kerajaan dengan style Ming Cheng Hua yang merupakan puncak kemampuan pabrik keramik Kerajaan Kaisar Tiongkok di Qing Te Chen telah dapat ditemukan dan diungkap,

dan tanda-tanda khusus baik bentuk foot rim dan tinggi kaki dasar mangkuk Ming Pertengahan yang umumnya masuk kedalam dan Qing yang tinggi seperti milik keramik Euro sertai gambair ayam dan warnya secara detail maka dapat dengan mudah dibedakan keaslian kedua type keramik tersebut, lihatlah beberapa gambaran keramik yang asli era Ming tengah dan Awal Qing tersebut yang tidak dapat dikatakan Reproduksi karena mereka mempunya cirri-ciri khusus baik tehnik lukisan maupun warnanya,

memang tak dapat dibantah bahwa Ming Tengah khususnya keramik khusus untuk Kaiat Hsuan Te , Cheng Hua, Cheng Te dan Wan Li andlah keramik yang paling tinggi mutunya didunia, tetapi Keramik era Kaisar Kang-Hi, Yungcheng dan Cheng Lung,Jiajing dan kaisar Qing Lainya juga tidak jauh berbeda dari kerami kasisar Ming hanya tergantung selera para pencinta keindahan seni keramik Tiogkok.

Info ini tidak jadi disebarluaskan oleh karena itu saya batalkan untuk di publikasikan di Web blog maupun CD-rom dan Buku.

Saya pesankan kepada anak-cucu saya serta generasi penerus saya dimasa mendatang, simpanlah koleksi ini dengan hati-hati dan setelah situasi sudah memungkinkan publikasikanlah info ini kepada khalayak ramai, sebagai kenangan-kengan kepada saya,.

Semoga informasi ini dapat memberikan penerangan tentang temuan yang sangat langka ini,

terima kasih Bunda Maria dan Tuhan Yesus atas anugerahmu,sesuai janjiku segera akan saya bangun juga museum Maria sebagai bagian dari museum Leluhur Indonesia WANLI (Iwan & Lily) yang mungkin akan segera terealisir.

( Catatan Dr Iwan )

Lihat sekali lagi ini yang asli Ming

 

Provenance Hongkong Auctions

Ternyata Merek asli dinasti Ming ada yang double line tetapi halus dan Qing lebih tebal dan warnanya lebih terang karena memakai zat pewarna lokal , mungkin hanya pada mangkuk ayam saja yang single line.

Lihatlah info merek keramik kerajaan Tiongkok

Source

Oriental ceramic

 

 

 

 

 

 

Untuk dapat lebih memahami karateristik Keramik Kerajaan Tiongkok

Lihat info dihalaman berikut ini.

 

 

Ini contoh keramik yang buatan Rakyat, biasanya dimiliki kolektor yunior, perlu diperhatikan agr nanti bila melihat yang benar-benar keramik hadiah kaiar Tiongkok kepada

Sultan dan raja di Indoneia.

Saya sarankan tak perlu membeli koleksi dibawah in kecuali dari diansti Han masih pantas dimiliki walaupun jelek tetapi sangay sulit ditemukan sehingga nilai ekonomisnya cukup tinggi

(Catatan Dr Iwan)

 

 

 

 

 

 

Seloanjutnya perlu melihat info dihalaman berikut agar lebih naik peringkat koleksinya

( Catatan Dr Iwan)

 

MARKS AND INSCRIPTIONS ON CHINESE PORCELAIN AND POTTERY

 

Below are various marks and inscriptions from Chinese pottery and porcelain that we have had in stock over the last few years. This is not a comprehensive list, it is purely based on pieces we have had. Unfortunately we are not able to acquire early Ming Imperial porcelain due to cost, so all those marks are lacking. However we have had many Imperial pieces and as you will see below there are many rare and interesting marks.

We have also included marks copying the marks of earlier reigns, so they can be contrasted against the original Imperial marks.

THIS IS A WORK IN PROGRESS AND HAS ONLY JUST STARTED….

1) SONG DYNASTY

2) MING DYNASTY :
Jiajing 1522-1566
Longqing 1567-1572
Wanli 1573-1620
Tianqi 1621-1627
Chongzhen 1628-1644

 

 

NORTHERN SONG. 960 – 1127. Probably c.1040 – 1050.

 

NORTHERN SONG. 960 – 1127.
Probably c.1040 – 1050.

A Rare Inscribed Northern Song Tile, Probably from the ‘Iron Pagoda’ of Youguosi, Kaifeng Henan Province. The Pottery Wall Tile Glazed in Amber and Green, Decorated with Buddha Surrounded by Bodhisattvas and Disciples.

The Side Inscribed in Raised Moulded Script. For a Very Similar but Double Tile Lacking the Inscription See : The British Museum Item OA 1992.2-6.1.

The British Museum Entry Further States “Some Pagodas in the Song Dynasty Were Made Entirely of Cast Iron. Pagodas Fully Covered with Brown-Glazed Potte

ry Tiles had a Similar Visual Effect and are Often Called Iron Pagodas” e our ‘Archive’ for more information, stock number 17462

 

 

 

 

 

 

 

SOUTHERN SONG DYNASTY 1128 -1279. Inscribed While Eating

SOUTHERN SONG DYNASTY 1128 -1279.
Inscribed While Eating

 

 

 

 

 

 

A Contemporary Ink Inscription While Eating.

An Inscribed Song Stoneware Bowl with Incised and Combed Petal Decoration. The Inscription Which is Contemporary With the Bowl Reads ‘While Eating’.

This Unusual Inscription Probably Marks this Piece out as a Vessel Used in a Song Dynasty Restaurant.

Provenance :
Gerald Davison.Label to the side C.P. 133.

Literature :
The Handbook of Marks on Chinese Ceramics (Gerald Davison, Han-Shan Tang Books, 1994. ISBN 0-906610-20-6) Illustrated on Page 23 Item 21.

 

JIN DYNASTY 1115 – 1234 or YUAN DYNASTY 1279 – 1368.

JIN DYNASTY 1115 – 1234
or YUAN DYNASTY 1279 – 1368.

A Rare Jiexiu Ware Inscribed Porcelain Bowl from the Jiexiu Kilns in Shanxi Province. The Bowl has Panels Divided by Ribs. The Decoration is Constructed of Raised Lines and Includes Two Inscribed Tablets with Lotus Leaf Tops. The Rare Inscription reads “Porcelain Vessel“. Other Panels Show pairs of Duck, Phoenix and Flowers.

Published :
Chinese Ceramics in the Carl Kempe Collection (Bo Gyllensvard, Almqvist & Wiksell, 1964) Page 137 Plate 433. Drawing of the inscription Page 147.

See our ‘Archive’ or ‘Sold’ for more information, stock number 20375.

 

JIN DYNASTY 1115 – 1234 or YUAN DYNASTY 1279 – 1368.

 

JIN DYNASTY 1115 – 1234 or
YUAN DYNASTY 1279 – 1368.

A Fine Inscribed Jiexiu White Stoneware Bowl from the Jiexiu Kilns in Shanxi Province, Jin or Yuan Dynasty, 12th or 13th Century. As part of the decoration an inscription reading “zhen fu jia kang” meaning ‘veritable happiness and well-being for your family’ is included at an angle.

See our ‘Archive’ or ‘Sold’ for more information, stock number 19509

YUAN 1279 – 1368

YUAN 1279 – 1368

A Rare Yuan Blue and White Porcelain Stem Cup. Decorated with a Panel of Calligraphy. The Inscription would Seem to Bestow Good Wishes to the User. Exhibited at ; The Oriental Ceramic Society of Hong Kong’s Exhibition of Trade Ceramics, Item 89. Label to the Base and another to the Fitted Box. For a very Similar Inscribed Blue and White Yuan Stem Cup See : Chinese Blue and White Ceramics (S.T. Yeo & Jean Martin,Arts Orientalis,1978) Page 96, Illustrated Plate 2, Item 3.

See our ‘Archive’ or ‘Sold’ for more information, stock number 17615.

 

YUAN DYNASTY 1279 – 1368. None-Chinese Inscription.

YUAN DYNASTY 1279 – 1368.
None-Chinese Inscription.

An Unidentified None-Chinese Inscription from Yunnan Province.

An Unusual Yuan Pottery Jar and Cover from Yunnan Province. The Body Extensively Inscribed with a Non-Chinese Script.

The Inscribed Characters were Added When the Clay was Wet, Some of Which Extended to the Base.

A Large Area of the Body Has Fired to a Black Tone. The Cover is Undecorated. For Similar Yuan Pottery Examples See : Offering Vessels of Yunnan (Michael C. Teller IV, TK Asian Antiquities,2004) Pages 36 -37, Items 21-23. The Introduction of the Catalogue States that “A large number of jars have some calligraphy, both Chinese and as yet (an)unidentified script, which bears significant similarities to post 10th century Devanagari, a script used to write sacred Sanskrit texts. Approximately 1% of the jars, however, have script all over the vessel…”.

See our ‘Archive’ for more information, stock number 19093.

 

 

 

 

MING DYNASTY : JIAJING 1522-1666

MING DYNASTY :
JIAJING 1522-1666

Jiajing Six Character Mark and of the Period.

A Ming Imperial Yellow Porcelain Dish.

From the beginning of Jiajing’s reign, he was infatuated with young women and Taoist pursuits. He was known to be a cruel and self-aggrandizing emperor and he also chose to reside outside of the Forbidden city in Beijing so he could live in isolation while ignoring state affairs.

Jiajing employed incapable individuals such as Zhang Cong and Yan Gao, on whom he thoroughly relied to handle affairs of state.

He abandoned the practice of seeing his ministers altogether from 1539 onwards and for a period of almost 25 years refused to give official audiences, choosing instead to relay his wishes through eunuchs and officials. This eventually led to corruption at all levels of the Ming government. Jiajing’s ruthlessness also led to an internal plot by his concubines to assassinate him in 1542 by strangling him while he slept. The plot was ultimately foiled and all of the concubines involved were summarily executed.

See our ‘Archive’ for more information, stock number 16895

 

 

MING DYNASTY : JIAJING 1522-1566

MING DYNASTY :
JIAJING 1522-1566

Jiajing Six Character Mark and of the Period.

Jiajing 1522 – 1566, Large Ming Porcelain Bowl. The Bowl is Decorated with a Extensive Landscape With Three Scholars and their Attendants with Pavilions and Mountains. The Well of the Bowl is Decorated with ‘The Three Friends of Winter’ (Pine, Bamboo, and Prunus). The Base with a Jiajing Six Character mark and of the Period.

See our ‘Archive’ for more information, stock number 16905

 

 

 

MING DYNASTY : JIAJING 1522-1566.

MING DYNASTY :
JIAJING 1522-1566.

Jiajing Six Character Mark and of the Period.

A Ming Blue and White Porcelain Shallow Bowl. Decorated with Fish on the Cavetto, a Crane Between Two Egrets to the Well and Repeated ‘Shou’ Characters to the Everted Rim.
Provenance : Robert McPherson Antiques. The John Drew Collection.

See our ‘Archive’ for more information, stock number 18550

 

 

 

MING DYNASTY : JIAJING 1522-1566

MING DYNASTY :
JIAJING 1522-1566

Jiajing Six Character Mark and of the Period.

A Ming Blue and White Porcelain kiln Waster. This Base of a Bowl is Painted with a Male figure with a Deer.

See our ‘Archive’ for more information, stock number 29.

 

 

MING DYNASTY : JIAJING 1522-1566

MING DYNASTY :
JIAJING 1522-1566

Jiajing Six Character Mark and of the Period.

An Ming Imperial Yellow Porcelain Bowl.
For a Jiajing Imperial Yellow Bowl of the Same Size See : Christie’s New York, Fine Chinese Furniture, Ceramics and Works of Art, 20th September 2001. Lot 379.
For a Similar but Smaller Jiajing Imperial Yellow Bowl From the Cunliffe Collection See : Phillip’s, Bond Street, London, 13th June 2001. Lot 240.
Provenance : Robert McPherson Antiques. The John Drew Collection.

See our ‘Archive’ for more information, stock number 18546

MING DYNASTY : JIAJING 1522-1566

MING DYNASTY :
JIAJING 1522-1566

Jiajing Six Character Mark and of the Period.

A Ming Blue and White Porcelain Jar.
Provenance : Robert McPherson Antiques. The John Drew Collection.

See our ‘Archive’ for more information, stock number 18579.

 

 

 

 

APOCRYPHAL JIAJING MARKS AND LATER MARKS COPYING JIAJING.

APOCRYPHAL JIAJING MARKS
AND LATER MARKS COPYING JIAJING.

Apocryphal marks are frequently encountered on Chinese porcelain particularly on Kangxi Blue and White Porcelain, the mark of the Ming Emperor Chenghua who reigned from 1465 to 1487 being by far the most common, other Ming marks include Jiajing (1522-1566) and less frequently Wanli (1573-1620). These marks were not normally added to the piece to deceive, but more as a sign of reverence to earlier potters of the Ming dynasty (1368-1644). Occasionally they are used on pieces copying Ming Porcelain,

these objects were probably made for collectors who could not afford the Ming original. Tianqi (1621-1627) appears to be the earliest period for such an apocryphal mark.

Some Chongzhen and Shunzhi apocryphal marks copying Jiajing marks are very well draw, the calligraphy can be bold and confident, so occasionally these pieces are confused with genuine Jiajing mark and period porcelain.

The Base with a Apocryphal Jiajing Mark (1522-1566).

A Fine Transitional Porcelain Cup, Late Ming Dynasty (Chongzhen 1628-1644) or Very Early Qing Dynasty (Shunzhi 1644-1661) c.1640-1650. Decorated in a Rich Cobalt Blue with Two Dragons with Lotus Coming from their Mouths and Buddhist Emblems.

See our ‘Archive’ for more information, stock number 19042.

 

 

APOCRYPHAL JIAJING MARKS AND LATER MARKS COPYING JIAJING.

APOCRYPHAL JIAJING MARKS
AND LATER MARKS COPYING JIAJING

The Base with an Apocryphal Jiajing Six Character Mark.

A Shunzhi Porcelain Dish. Late Transitional Porcelain c.1650-1660. Thickly Potted of Shallow Form. Decorated in Blue and White with the ‘Eight Horses’ of Mu Wang within a Landscape. The Base with a Jiajing Six Character Mark.

See our ‘Archive’ for more information, stock number 18594.

 

APOCRYPHAL JIAJING MARKS AND LATER MARKS COPYING JIAJING.

APOCRYPHAL JIAJING MARKS
AND LATER MARKS COPYING JIAJING.

An Apocryphal Jiajing Mark, Kangxi Period 1662-1722.

A Fine Kangxi Porcelain Bowl. Decorated with Egrets Standing in Water Among Flowering Lotus Plants. The Base with a Jiajing Mark (Ming 1522-1566).

See our ‘Archive’ for more information, stock number 18705.

 

 

MING DYNASTY : LONGQING 1567 – 1572

MING DYNASTY :
LONGQING 1567 – 1572

Four Character Longqing Mark and of the Period 1567 – 1572.

Longqing mark and period porcelain is rare, the marks are not particularly well painted and they are normally rather small. They are nearly always a four character mark, they do not seem to have been copied except by modern fakers.

 

Longqing (March 4, 1537- July 5, 1572) was the 12th Emperor of China (Ming dynasty) and Reigned between 1567-1572. Born Zhu Zaihou, he was the Jiajing Emperor’s son. Realizing the depth of chaos his father’s long reign had caused, Longqing set about reforming the government and employing talented officials in the hope of mending the situation. He reinstigated trade with other empires in Europe, Africa and other parts of Asia and also reinforced border security, nominating several generals to patrol the borders by land and on sea. This included the fortification of seaports along the Zhejiang and Fujian coast to deter pirates, a constant nuisance during the Jiaqing emperor’s reign. Emperor Longqing died in 1572 after a short reign of only 6 years and was succeeded by his son. He is generally considered one of the more liberal and open-minded emperors of the Ming dynasty. Unfortunately, the country was still in decline due to corruption in the ruling class. The emperor Longqing was buried in Zhaoling.

 

 

 

 

A Rare Ming Porcelain Dish, Four Character Longqing Mark and of the Period. Decorated with Three ‘Chilong’ Dragons in Blue and White, the Center with ‘Anhua’ Decorated ‘Lingzhi’ Fungus.

Provenance :
Philip’s Bond Street, Chinese and Japanese Porcelain, 19th November 1999, Lot 6.
Robert McPherson Antiques.
The John Drew Collection.

A Longqing Dish of this Pattern was Exhibited in Germany See : Ming-Porzellane in Schwedischen Sammlungen (Berlin and Leipzig 1935) Collection of H.Lauritzen, Stockholm.

See our ‘Archive’ for more information, stock number 18597

 

 

MING DYNASTY : WANLI 1573 – 1620

MING DYNASTY :
WANLI 1573 – 1620

Wanli Six Character Mark with the Inclusion of ‘Beautiful Vessel for Jade Hall’ Wanli nian zhi Yu Tang Jia Qi.

A Rare Wanli Blue and White Porcelain Bowl. The Base with a Wanli Mark Incorporating Yu Tang Jia Qi(Beautiful Vessel for Jade Hall). This Thinly Potted Wanli Porcelain Bowl is of Circular Form with a Slightly Everted Rim and Curved Sides, it is Covered by a Pale Blue-Grey Tinged Glaze, the Interior Painted in Fine Bright Underglaze Cobalt Blue with a Double Circle Enclosing a Medallion of Flowering Branches of Peony,

the Underside Encircled Alternately by Roundels Enclosing Flowering Sprays and Fruiting Sprays Among Cloud Scrolls.

This rare mark, a standard Wanli six character mark with the inclusion of ‘Beautiful Vessel for Jade Hall’ Wanli nian zhi Yu Tang Jia Qi is very neatly painted unlike marks on none-imperial Wanli porcelain. The present example is almost certainly imperial, the addition of the hall mark within the Wanli reign mark might not denote that this bowl was made for a specific imperial hall.

Ming Wilson explains in ‘Rare Marks on Chinese Ceramics’ when discussing a Wanli bowl with a eight character mark that includes the characters meaning ‘for use in the Hall of Pure loyalty’ that the bowl was made for an official at court. The name ‘Hall of Pure loyalty’ was bestowed by Wanli on the high ranking official Zhang Juzheng (1525-1582). So it is quite possible the present example was also made for a high ranking official at the imperial court, however it is also possible the hall mark does indeed denote the place which the bowl was destined for.

 

 

 

Gerald Reitlinger (1900- 1978)
Regarding porcelain reign marks and dating (1881):
‘Everyone was now in such a muddle that there was a sort of gentleman’s agreement not to talk about it any more.’
From our ‘History’ section, see ;
CHINESE PORCELAIN
25 YEARS OF UNSCHOLARY COLLECTING:
An Entertainment and an Anthology of Scholars’ Taste.
by D.R Laurence MD, 2003

For a pair Wanli dishes with the mark discussed above see : Rare Marks on Chinese Ceramics, A Joint Exhibition from the Percival David Foundation of Chinese Art and the Victoria and Albert Museum (Ming Wilson, School of Oriental and African Studies in association with Victoria and Albert Museum. 1998. ISBN 0-7286-0290-3) pages 48 and 49 as well as the introduction.

 

See our ‘Archive’ for more information, stock number 20396

 

 

MING DYNASTY : WANLI 1609.

MING DYNASTY :
WANLI 1609.

This extensively inscribed Ming blue and white stele is dated to the thirty-sixth year of Wanli (1609) and the day equivalent to November 2nd. The inscriptions on the front and back show that Cheng Bozhong had passed the Imperial Examinations, he had a family, their names are also noted.

A Rare Dated Ming Blue and White Porcelain Stele. Dated to November 2nd 1609. Constructed of a Rectangular Porcelain Slab with a Flange that Inserts into a Brick Form Base. Ming blue and white porcelain stele are very rarely found outside museum collections.

Provenance :
The Museum of Art and Far Eastern Antiquities in Ulricehamn Sweden.

Published :
Chinese Ceramic Treasures, A Selection From Ulricehamn East Asian Museum, Including The Carl Kempe Collection (National Museum of Art and Far Eastern Antiquities in Ulrichenhamn, Sweden, 2002.ISBN 91-971367-4-3)Pages 250 and 251. Both sides illustrated in colour with a full translation into Swedish.

See our ‘Archive’ for more information, stock number 20396

 

 

 

MING DYNASTY : WANLI 1573 – 1620.

MING DYNASTY :
WANLI 1573 – 1620.

Wanli Six Character Mark and of the Period.

A Ming Porcelain Dish. Wanli Six Character Mark and of the Period. Decorated in Blue and White with a Medallion Comprising Four ‘Ruyi’ heads Around a Flower Head.

For a Wanli Mark and Period Dish of this Pattern and Size See : Sotheby’s London, Fine Chinese Ceramics and Works of Art, 11th June 1991. Lot 157.

 

Provenance :
Sotheby’s, Fine Chinese Ceramics, Bronzes and Works of Art, London 7th December 1993.
Robert McPherson Antiques.
The John Drew Collection.

 

See our ‘Archive’ for more information, stock number 18558

 

 

MING DYNASTY : WANLI 1573 – 1620

MING DYNASTY :
WANLI 1573 – 1620

Wanli Mark and of the Period.

A Small Imperial Ming Blue and White Porcelain Saucer Shape Dish. Six Character Wanli Mark and of the Period. Decorated in a Deep Cobalt Blue With a Plant With Three ‘Ruyi’ Shaped Ends and a Border of Fruiting Branches, The Reverse Decorated With Flowers.

See our ‘Archive’ for more information, stock number 17503

 

MING DYNASTY : WANLI 1573 – 1620

MING DYNASTY :
WANLI 1573 – 1620

Wanli Six Character Mark and of the Period.

A Saucer Dish, Ming Dynasty. The Base with a Six Character Wanli Mark and of the Period (1573-1620). Decorated with a Scholar in a Landscape Seated Under a Pine Tree with Two Attendants, One of whom is Offering a Book. To the Left Can be Seen Tops of Buildings with Clouds Around them. The Scholar is Seated Next to a Prunus Tree, with a Small Amount of Bamboo in the Foreground, While a large Pine Tree Shades Him. These Three Plants, Pine, Bamboo and Prunus, are Referred to as ‘The Three Friends of Winter’. The Base with a Six Character Wanli Mark and of the Period (1573-1620) to the Center, the Rim with Branches of Flowers and Fruit.

See our ‘Archive’ for more information, stock number 18909.

 

 

MING DYNASTY : WANLI 1573 – 1620

MING DYNASTY :
WANLI 1573 – 1620

Wanli Six Character Mark and of the Period.

A Small Ming Porcelain Bowl. Wanli Six Character Mark and of the Period. Finely Decorated with Buddhist ‘Treasures’. Painted in a Silvery Blue (Popular at the End of the 16th century).
For a Wanli Mark and Period Dish of this Pattern See ; Christie’s Hong Kong, The Christina Loke Balsara Collection of Fine Chinese Ceramics, 19th January 1988. Lot 258.
Provenance : Robert McPherson Antiques. The John Drew Collection.

See our ‘Archive’ for more information, stock number 18541

 

MING DYNASTY : WANLI 1573 – 1620.

MING DYNASTY :
WANLI 1573 – 1620.

Wanli Six Character Mark and of the Period.

A Fine Ming Blue and White Porcelain Dish. Wanli Six Character Mark and of the Period. Decorated with Kylin and a Tiger in a Landscape.
For a Wanli Mark and Period Dish of this Size and Pattern From the Riesco Collection that was Exhibited at the O.C.S. Exhibition of Chinese Blue and White Porcelain, 14th to 19th Centuries (1953, Catalogue Number 173) See : Sotheby’s Fine Chinese Ceramics, Bronzes and Works of Art, London, 11th December 1984. Lot 327.
Provenance : Robert McPherson Antiques. The John Drew Collection.

See our ‘Archive’ for more information, stock number 18531

 

 

MING DYNASTY : WANLI 1573 – 1620

MING DYNASTY :
WANLI 1573 – 1620

Rare Shaded Double-Gourd Mark, Wanli Period. An Unusual Ming Blue and White Porcelain Dish, Wanli c.1580. Decorated with a Mountainous Landscape to the Center and a Border of Water Birds (Probably Egrets) Among Lotus. The Base with a Rare Shaded Double-Gourd Mark.

See our ‘Archive’ for more information, stock number 20906

 

 

 

 

 

 

 

MING DYNASTY : TIANQI 1621 – 1627

MING DYNASTY :
TIANQI 1621 – 1627

Tianqi Mark and of the Period (1621-1627) porcelain is unusual. It normally shows a poorly drawn four character mark which should in most, if not all circumstances, be seen as none imperial. Six character marks were also produced, a few could possibly be imperial but Tianqi’s reign is at the very end of the Ming dynasty when imperial patronage stopped. The potters of this period found new clients among the scholar classes as well as making fine pieces for export. The pieces illustrated here were made for the Japanese market.

A Tianqi Mark and Period (1621-1627) Ko-Sometsuke Dish Made for the Japanese Market. Painted in Blue and White with a Scholar Sitting Under a Willow Tree.

Provenance :
R & G McPherson Antiques.
The John Drew Collection of Chinese and Japanese ceramics.
Exhibited :
Ostasiatiska Museet. Ulst.1964. Nr 102.
Published :
Ming Blue and White from Swedish Collections by Jan Wirgin. (Östasiatiska museets utställningskatalog nr 1)

See our ‘Archive’ or ‘Sold’ for more information, stock number 20702.

 

 

 

 

 

 

MING DYNASTY : TIANQI 1621 – 1627

MING DYNASTY :
TIANQI 1621 – 1627

A Rare Tianqi Blue and White Porcelain Censer, the Base with a Six Character Tianqi (1621-1627) Mark and of the Period. Probably Made for the Tea Ceremony.
This rare late Ming Porcelain incense burner, known as a Koro in Japan, is part of a group of pieces made during the first half of the 17th century for use during the Japanese tea ceremony. It is a rare form and a Tianqi mark is very unusual on shaped vessels. This mark is one of the more unusual Ming Porcelain marks but when it is encountered, it is nearly always found on small serving dishes.

See our ‘Archive’ or ‘Sold’ for more information, stock number 19833.

 

MING DYNASTY : TIANQI 1621 – 1627

MING DYNASTY :
TIANQI 1621 – 1627

An Unusual Late Ming Wucai Dish. Tianqi Four Character Mark and of the Period.

See our ‘Archive’ or ‘Sold’ for more information, stock number 18603.

 

 

 

 

 

MING DYNASTY : TIANQI 1621 – 1627

MING DYNASTY :
TIANQI 1621 – 1627

A Rare Dated Ming Porcelain Dish. Sketchily Painted with Four Central Characters Reading ‘Tianqi Qinian’ ; Tianqi 7th Year (corresponding to 1628). For a Pair of Very Similar Ming Dishes Also Dated 1628 See : Christie’s London, Fine Chinese Ceramics and Works of Art, December 10th 1990. Lot 161. Provenance : Robert McPherson Antiques. The John Drew Collection.

See our ‘Archive’ or ‘Sold’ for more information, stock number 18535.

 

 

 

MING DYNASTY : CHONGZHEN 1628-1644

MING DYNASTY :
CHONGZHEN 1628-1644

Chongzhen mark and period porcelain is exceptionally rare. Occasionally inscribed pieces like the present example with a date corresponding to 1640 are found, these are never the less very rare too. These piece are none imperial and were normally dated as part of a dedication to a temple or other building. The inscriptions typically read made during the 12 year of the reign of Chongzhen for example.

A Rare Chongzhen (1628-1644) Porcelain Jar Dated 1640. Decorated with an Open Landscape Scroll, a Vase of Flowers and other Objects. Dated by Inscription to 1640.
Provenance : Christie’s London, Feb. 1979 Lot 52. A Private English Collection. R & G McPherson Antiques. The John Drew Collection. Illustrated in : The Hatcher Porcelain Cargo’s (Colin Sheaf and Richard Kilburn, Phaidon 1988).

See our ‘Archive’ or ‘Sold’ for more information, stock number 18632.

 

 

 

 

 

 

MING DYNASTY 1368 – 1644. OTHER MARKS. Inscribed ‘5th August Yu Tian Shun Shop 1st Try For Testing the Clay’.

MING DYNASTY 1368 – 1644.
OTHER MARKS.
Inscribed ‘5th August Yu Tian Shun Shop 1st Try For Testing the Clay’.

A Very Rare Inscribed Porcelain Kiln Waster, Probably Ming Dynasty (1368-1644).
Made for testing the quality of the clay this fragment is inscribed ‘5th August Yu Tian Shun Shop 1st Try For Testing the Clay’. This base appears to be inscribed in cobalt, but because the piece hasn’t been glazed it has remained a brownish black rather than firing blue. The footrim has not been cut, it has been left as a solid. This kiln waster probably comes from Jingdezhen, the Yu Tian Shun workshop would have been one of the very many workshops within Jingdezhen.

See our ‘Archive’ for more information, stock number 18045

 

 

MING DYNASTY 1368 – 1644. OTHER MARKS.

MING DYNASTY 1368 – 1644.
OTHER MARKS.

A Unusual Large Ming Dynasty Inscribed Pottery Ridge Tile c.1500-1640. Probably Shanxi Province. The Base of the Mounted Figure of a Warrior is Inscribed Under the Glaze “Ma Chiu”. This is Probably the Name of the Rider, a Historical Chinese Character.
Provenance : (According to the old label on the base of the fitted stand) Stuart Earl of Morey Viscount of Findhorn. The Label states that there were two such figures. We sold the other one many years ago.

See our ‘Archive’ or ‘Sold’ for more information, stock number 19065.

 

 

 

 

 

MING DYNASTY 1368 – 1644 AND EARLY QING. OTHER MARKS.

MING DYNASTY 1368 – 1644 AND EARLY QING.
OTHER MARKS.

“Fine Vessel for the Jade Hall” :
This four character mark found on some late Ming porcelain was very popular during the Shunzhi Period of 1644 – 1661. It frequently occurs on a group of thickly potted saucer shaped dishes of a type that was popular during Shunzhi`s reign. According to Michael Butler (Shunzhi Porcelain, Treasures from an Unknown Reign, Butler, Curtis and little, University of Washington Press,2002) Terese Tse Bartholomew in her book Myths and Rebuses in Chinese Art refers to “Jade Hall” as a wealthy establishment, and also an elegant name for the Hanlin Acadamy, an official bureau made up of scholars who had attained the highest degrees (politically relevant since the jinshi degree was reinstated by the new regime in 1646.

Komentar Dr Iwan

Ternyata penulis diatas tidak memiliki merek Ming awal yang hanya tertulis Ta Min Nien Hao saja seperti yang dokter iwan miliki pada sebuah dasar tempat nedak (tidak ditampilkan fotonya karena takut nanti dipalsukan), begitu juga Ming Hsuante, Dr Iwan punya yang hanya pecahan jadi hanya sebagian, dan Ming Cheng Hua hanya Cheng Hua Nien Hao saja (juga tidak ditampilkan takut nanti dipalsukan) Bila ingin melihat koleksi DR Iwan Yang paling langka terpaksa pembaca harus membayara tanda masuk dua juta rupiah dan biaya belajar sepuluh juta, yah mahal ,tetapi bila tidak nanti akan terbeli koleksi palsu bisa rugi ampai Jutaan Rupia

(Dr Iwan Comment in ndonesian only)

 

LAMPIRAN

Profil Dr Iwan dalam bahasa Inggris yang kacau balau

Agar anda tidak invgin merepro buku ini karena sudah baca dan beli, tentu akan anda simpan dan suruh orang lain baca atau anda buang di tempat sampah ??? terserah menurut anda , yang penting jangan dibuang di tempat berak nanti tersumbat.

Silahkan membaca dengan cermat dan jangan beri komentar.

Hak Cipta @ Dr Iwan 2015

 

 

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