COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1957.40
amicoid
CMA_.1957.40
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Decorative Arts and Utilitarian Objects
oty
Decorative Arts and Utilitarian Objects
Object Type
false
Creator Nationality:
Asian; Far East Asian; Chinese
crc
Asian; Far East Asian; Chinese
Creator Nationality
false
Creator Dates/Places:
China
cdt
China
Creator Dates/Places
false
Creator Name-CRT:
China, Late Northern Song Dynasty
crt
China, Late Northern Song Dynasty
Creator Name-CRT
false
Title:
Brush Washer, Ru Ware
otn
Brush Washer, Ru Ware
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1101-1127
oct
c. 1101-1127
Creation Date
false
Creation Start Date:
1101
ocs
1101
Creation Start Date
false
Creation End Date:
1127
oce
1127
Creation End Date
false
Materials and Techniques:
gilt bronze
omd
gilt bronze
Materials and Techniques
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Classification Term:
Ceramic
clt
Ceramic
Classification Term
false
Dimensions:
Diameter: 12.8cm
met
Diameter: 12.8cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1957.40
ooa
1957.40
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
In the late Northern Song court of emperor Huizong (ruled 1101?25), a new kind of ceramic was sought to serve the needs of the imperial household. The ultimate choice, a bluish-green glazed stoneware named Ru after the site of its manufacture at Ruzhou,near the Song capital, marked a radical departure from the former imperial preference for creamy white stonewares produced near Dingxian, in modern Hebei. Unlike Ding ware, typified by examples with thin transparent glazes, incised surface decoration, andmetal-banded lips, Ru ware is usually devoid of distracting ornament and covered with a relatively thick glaze of unsurpassed depth and complexity. This unassuming brush washer perfectly embodies the beauty of the Ru ware glaze. With the exception of thethree sesame seed-like marks left by kiln supports in the foot, its simple rounded shape is encased in variegated color that covers body, lip, and foot. Colored by small amounts of iron in the glaze, the modulation across the surface of the vessel results from air bubbles and irregularly ground particles suspended in the vitrified coating. The web of cracks that pattern the glazed surface add to the visual impact of this variation. Such crackling is produced when body and glaze cool at different rates after firing. Although frequently seen as a flaw in other wares, the Ru potters exploited the natural phenomenon for aesthetic effect. Providing a supremely subtle form of surface enrichment, these aspects are largely accidental and thus vary noticeably from piece to piece. The recent discovery of the Ru kiln site has proven the close relationship between the imperial ware made there and other northern celadons that were more widely produced for the commercial market. Representing one of the finest achievements of Chinese potters, Ru ware was unfortunately produced for a limited time apparently because of the Tartar invasion and the removal of the Song capital to Hangzhou in the south. Fewer than one hundred examples survive today. Despite its brief history, Ru ware had a tremendous influence on the southern ceramics produced throughout the remainder of the dynasty, obvious in the shapes, glazing, and firing of imperial wares like Guan as well as more popular products of the Longchuan celadon kilns. K.W.
cxd
In the late Northern Song court of emperor Huizong (ruled 1101?25), a new kind of ceramic was sought to serve the needs of the imperial household. The ultimate choice, a bluish-green glazed stoneware named Ru after the site of its manufacture at Ruzhou,near the Song capital, marked a radical departure from the former imperial preference for creamy white stonewares produced near Dingxian, in modern Hebei. Unlike Ding ware, typified by examples with thin transparent glazes, incised surface decoration, andmetal-banded lips, Ru ware is usually devoid of distracting ornament and covered with a relatively thick glaze of unsurpassed depth and complexity. This unassuming brush washer perfectly embodies the beauty of the Ru ware glaze. With the exception of thethree sesame seed-like marks left by kiln supports in the foot, its simple rounded shape is encased in variegated color that covers body, lip, and foot. Colored by small amounts of iron in the glaze, the modulation across the surface of the vessel results from air bubbles and irregularly ground particles suspended in the vitrified coating. The web of cracks that pattern the glazed surface add to the visual impact of this variation. Such crackling is produced when body and glaze cool at different rates after firing. Although frequently seen as a flaw in other wares, the Ru potters exploited the natural phenomenon for aesthetic effect. Providing a supremely subtle form of surface enrichment, these aspects are largely accidental and thus vary noticeably from piece to piece. The recent discovery of the Ru kiln site has proven the close relationship between the imperial ware made there and other northern celadons that were more widely produced for the commercial market. Representing one of the finest achievements of Chinese potters, Ru ware was unfortunately produced for a limited time apparently because of the Tartar invasion and the removal of the Song capital to Hangzhou in the south. Fewer than one hundred examples survive today. Despite its brief history, Ru ware had a tremendous influence on the southern ceramics produced throughout the remainder of the dynasty, obvious in the shapes, glazing, and firing of imperial wares like Guan as well as more popular products of the Longchuan celadon kilns. K.W.
Context
false
Related Image Identifier Link:
CMA_.1957.40.tif
ril
CMA_.1957.40.tif
Related Image Identifier Link
false