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Chinese Ceramics Image Caption Cup China, Shandong Province 1 Empress Place Singapore 179555 www.acm.org.sg Chinese Ceramics Image Caption Cup China, Shandong province, Longshan culture (around 2900–1900 BC) Earthenware Asian Civilisations Museum Pottery began to be made in quantity in China about 10,000 years ago, and our oldest ceramics date from this period. This delicate stemcup represents the highest sophistication of ceramic art in prehistoric China – the extraordinary thinness of the vessel walls was made possible only by the skilful use of a fast-turning wheel. Such cups were prestigious ritual vessels, and found only in the largest and richest graves, with other luxury items made of jade and ivory. Vase with a chrysanthemum base China, Northern Song dynasty, around 1100 Porcelain Asian Civilisations Museum. This object has been adopted by Lam Soon Cannery Private Limited. This vase is an artistic tour-de-force: the base, in the shape of a chrysanthemum blossom, provides a delightful contrast between the solid form and the apparently fragile flower underneath. The illusion of crinkled and broken chrysanthemum petals was created by cutting the wet clay at sharp angles. Another example of the type was excavated from a pagoda in Hebei (datable to 1115), then ruled by nomadic Khitan people under the Liao dynasty. The elaborate form therefore reflects a blend of Central Asian and native Han taste. 1 A National Heritage Board Museum 1 Empress Place Singapore 179555 www.acm.org.sg Image Caption Bowl China, Guan kilns, 12th or 13th century Porcelain On loan from the Edmond Chin Collection The gallery showcases a selection of exquisite Song dynasty ceramics from the Edmond Chin collection, including extremely rare examples of Guan (official) pottery. The five classical wares of the Song dynasty – Ding, Jun, Ru, Guan, and Ge – have long been prized by emperors, scholars, and collectors. The Song dynasty is regarded as one of the highpoints of Chinese culture. Following the fall of the northern Song, the capital moved to Lin’an (present-day Hangzhou), where new kilns were established. The resulting Guan wares, of which this cup is an example, were extremely influential on ceramics made for local consumption. Jar with Daoist immortals China, 1522–66 (Jiajing reign) Porcelain Asian Civilisations Museum The Daoist immortals gather to pay their respects to Shou 寿, the deity of Longevity. This jar was probably made by a private kiln in Jingdezhen for the court. The many icons of longevity, including the lingzhi 灵芝 fungus, cranes, and peaches, can be attributed to the Jiajing Emperor’s obsession with immortality. He may even have died from taking an immortality elixir containing mercury. Most Ming emperors were Buddhist, but Jiajing was devoted to Daoism. 2 A National Heritage Board Museum 1 Empress Place Singapore 179555 www.acm.org.sg Image Caption Pitcher formed as a monk’s cap China, Jiangxi province, Jingdezhen, 1402–24 (Yongle reign) Porcelain Marked: 永樂年製 (made in the Yongle reign) Asian Civilisations Museum This ewer is in the shape of hats worn by Tibetan monks. The Yongle Emperor maintained diplomatic relations with Tibet, and employed many Tibetan monks to conduct rituals for his deceased parents, both to demonstrate his filial piety and to assert his legitimacy to the throne. Yongle was dogged by accusations that he had usurped the throne from his nephew. White was the prescribed colour in the Ming for state ritual ware. The name of the Yongle Emperor is delicately carved into the surface of the porcelain. Baluster vase China, Jiangxi province, Jingdezhen, around 1650 Porcelain Asian Civilisations Museum The Asian Civilisations Museum has a significant collection of Transitional Porcelain, which was made in the period between the decline of the Ming dynasty and the consolidation of power of the Qing (16th and 17th centuries). The loosening of imperial control led to a new freedom of expression, with symbols of imperial power, like dragons and phoenixes, being abandoned in favour of foreign motifs and scenes from popular novels and operas. The main scene on this vase depicts three men kneeling in front of a seated official, presenting him with a pitcher and a wine cup. Similar scenes are found in woodblock illustrations to tales like the Romance of the Three Kingdoms 三国志. 3 A National Heritage Board Museum 1 Empress Place Singapore 179555 www.acm.org.sg Image Caption Chrysanthemum dish China, Jiangxi province, Jingdezhen, 1723–35 (Yongzheng reign) Porcelain Marked: 大清雍正年製 (made in the Yongzheng reign) Asian Civilisations Museum. Gift of Mr Saiman Ernawan Butterflies flit among chrysanthemums on this large dish. Chrysanthemums symbolize autumn. The painter used soft, delicate brushstrokes inspired by the naturalistic style of Yun Shouping 恽寿平 (1633– 1690), a specialist in painting birds and flowers. Called fencai 粉彩, this colour palette became the defining porcelain style of the Yongzheng Emperor. The variety of materials used for making coloured enamels expanded, with Jingdezhen potters making their own ingredients through experimentation, as well as learning from European glass and metal enamelling techniques. These new colours allowed artists to create a variety of designs on fine white porcelain. 4 A National Heritage Board Museum 1 Empress Place Singapore 179555 www.acm.org.sg Image Caption Wenchang 文昌 (Daoist god of literature) China, Fujian province, Dehua, around 1600 Porcelain Marked: 何朝宗 (He Chaozong) Asian Civilisations Museum. Gift of Frank and Pamela Hickley The ACM’s large collection of porcelain produced at the Dehua kilns in Fujian province is one of the finest and most comprehensive in the world. Dehua was one of only two kilns in China that allowed potters to sign their work. The most famous Dehua potter is He Chaozong (active 17th century), whose square mark appears on the back of this finely made sculpture. Wenchang, the Daoist God of Literature, sits on a rock with a ruyi sceptre in his right hand. The beautifully fluid drapery was finished with deeply carved folds that emphasize the simple but voluminous style of the high official’s robe. His front and back are finely incised with cranes, the badge animal for the highest ranking civil officials. Vertical flute 箫 China, Fujian province, Dehua, 17th or 18th century Porcelain Marked: 鳳鳴 (call of the phoenix) Asian Civilisations Museum Porcelain flutes were rare and luxurious versions of musical instruments normally carved from bamboo. This one is especially unusual because of the inscription 鳳鳴 (Call of the Phoenix) on the end. Zhou Lianggong (1612–1672), inspector of Fujian, wrote of these flutes, “only one or two in a hundred 5 A National Heritage Board Museum 1 Empress Place Singapore 179555 www.acm.org.sg Image Caption are in tune. But of those that are, the sound is sad and clear, carrying far better than the bamboo.” Since coming to the museum, this flute has not been played. 6 A National Heritage Board Museum .
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