My Fate Book 我的命運書誌: June 2022

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品(瓷器)

The art collections (Ceramics) handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

http://myfatebook.com

Youtube:

2022 年 5 月份全球觀眾： 2,729 總觀看次數及2,868 總觀看時間 (分鐘)

Youtube:

Global audience in May 2022: 2,729 total views and 2,868 total watch time (minutes)

https://youtu.be/9nZ41jF_9jY

https://youtu.be/_XRsWNhp7IQ

https://youtu.be/YhYymPQqen8

https://youtube.com/shorts/MZyI042HtNs?feature=share

https://youtu.be/Bq76imfdq-4

Facebook 臉書：

擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：

Facebook:

Facebook Public Group 'Fine Art to sell' that has 48,000 global members:

https://www.facebook.com/groups/fine.art.to.sell/permalink/3223830651272649/

https://www.facebook.com/groups/fine.art.to.sell/permalink/3223816927940688/

https://m.facebook.com/groups/fine.art.to.sell/permalink/3188744688114579/

https://m.facebook.com/groups/fine.art.to.sell/permalink/3188542704801444/

https://www.facebook.com/groups/fine.art.to.sell/permalink/3188744148114633/

Provenance:

Ms. Chen Junying (1932- ). Her father Chen Wancheng was the 20th generation descendant from the ancestor Chen Xiufu [Official name: Guangludafu, an official who was close to the Emperor, and acted according to the edict of the Emperor, also the founding hero of the Ming Dynasty, from Wuhua, Guangdong.], who was nominated as the military Marshal by Ming Emperor Zhu Yuanzhang in Hongwu 18th year (1385 A.D.) Ming Dynasty. She has inherited the family handed-down ancestral collection, including valuable ceramics, jade carved works of art, antiques, bronzes, and Chinese paintings moving from mainland China to Taiwan since Qing dynasty, from her father Chen Wancheng and has been trained to be a good professional collector and an excellent appraiser by family education since childhood for over 80 years.

Chen Xiufu

Official name: Guangludafu, an official who was close to the Emperor, and acted according to the edict of the Emperor, also the founding hero of the Ming Dynasty, from Wuhua county, Guangdong Province, China.

Chen Xiufu was nominated as the military Marshal by Ming Emperor Zhu Yuanzhang in Hongwu 18th year (1385 A.D.) Ming Dynasty.

http://www.nanchens.com/xqxx/xqxx32/xqxx32510.htm

https://www.xuehua.tw/a/5ec8742f868e1a463e412f06

https://ppfocus.com/0/cu4cb061d.html

Announcement on the official website of People's Government of Wuhua County, in Meizhou City, Guangdong Province, China:

The first great memorial ceremony after the rebuilding of the ancestral hall of Chen Xiufu, the founding hero of the Ming Dynasty, was ushered in

On May 17, 2013, on the eighth day of the fourth month of the lunar calendar, the Chen Family Ancestral Hall (Xiufu Public Ancestral Hall), in which by Zhu Yuanzhang was Chen Xiufu nominated as the first-grade Guangludafu and awarded to build the "Emperor's Grace and Favorite Grant" Memorial Arch, was ushered in the first big memorial ceremony after its reconstruction.

https://www.wuhua.gov.cn/xxgk/gzdt/zwdt/content/mpost_326801.html

來源：

陳俊英女士 ( 1932 - )。她的父親陳萬承是明朝洪武十八年 (公元 1385 年) 被明朝皇帝朱元璋封為軍事大元帥的先祖陳秀甫 (明代開國功臣光祿大夫 [為皇帝近臣依皇帝詔命行事] 陳秀甫 [廣東五華籍]) 的第 20 代後裔。她從父親陳萬承處繼承了家族傳世的祖傳藏品，包括自清朝以來從中國大陸移至台灣的珍貴陶瓷器、玉器、古董、青銅器和中國書畫，她自童年開始透過家庭教育，即被培養成為一位很棒的專業收藏家和優秀的鑑賞家已達 80 多年。

陳秀甫

陳秀甫是明代的開國功臣光祿大夫 [此官名為皇帝近臣依皇帝詔命行事]，中國廣東省五華縣人。

明朝洪武十八年 (公元 1385 年) 陳秀甫被明朝皇帝朱元璋封為軍事大元帥。

http://www.nanchens.com/xqxx/xqxx32/xqxx32510.htm

https://www.xuehua.tw/a/5ec8742f868e1a463e412f06

https://ppfocus.com/0/cu4cb061d.html

中國廣東省梅州市五華縣人民政府官網公告訊息：

明朝開國功臣陳秀甫祠堂重建落成後迎來首次大祭

公元 2013 年 5 月 17 日，農曆四月初八，被朱元璋封為一品光祿大夫、賜建 “皇恩寵錫” 牌坊的陳家祠(秀甫公祠)重建落成後迎來了首次大祭。

https://www.wuhua.gov.cn/xxgk/gzdt/zwdt/content/mpost_326801.html

...

The Provenance of Works of Art

藝術品來源

https://youtu.be/6v0qM9_dimc

Works of Art

Provenance:

藝術品

來源：

...

Chen Xiufu

Chen Xiufu was nominated as the military Marshal by Ming Emperor Zhu Yuanzhang in Hongwu 18th year (1385 A.D.) Ming Dynasty.

陳秀甫

陳秀甫是明代的開國功臣光祿大夫 [此官名為皇帝近臣依皇帝詔命行事]，中國廣東省五華縣人。

明朝洪武十八年 (公元 1385 年) 陳秀甫被明朝皇帝朱元璋封為軍事大元帥。

http://www.nanchens.com/xqxx/xqxx32/xqxx32510.htm

https://www.xuehua.tw/a/5ec8742f868e1a463e412f06

https://ppfocus.com/0/cu4cb061d.html

...

Announcement on the official website of People's Government of Wuhua County, in Meizhou City, Guangdong Province, China:

The first great memorial ceremony after the rebuilding of the ancestral hall of Chen Xiufu, the founding hero of the Ming Dynasty, was ushered in

中國廣東省梅州市五華縣人民政府官網公告訊息：

明朝開國功臣陳秀甫祠堂重建落成後迎來首次大祭

公元 2013 年 5 月 17 日，農曆四月初八，被朱元璋封為一品光祿大夫、賜建 “皇恩寵錫” 牌坊的陳家祠(秀甫公祠)重建落成後迎來了首次大祭。

https://www.wuhua.gov.cn/xxgk/gzdt/zwdt/content/mpost_326801.html

...

http://myfatebook.com

...

網誌 Blogger：

Orion Museum

文章 Article： 

VIP 尊貴客戶鑑賞 7 件藝術品

Seven valuable works of art for VIP valued customers to appreciate

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/vip-7-seven-valuable-works-of-art-for.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世汝窯瓷器有精美紋飾圖案

The Ru kiln porcelains handed down from the ancestors of the Chen Xiufu family, who was the founding hero and military marshal of the Ming Dynasty, have exquisite decorative patterns.

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/ru-kiln-porcelains-handed-down-from.html

...

網誌 Blogger：

Orion Museum

文章 Article：

「天神密碼」保護「無價生命」我們知道你的昨天、今天和明天！

"The God's Code" protects "Priceless Life" We know your yesterday, today and tomorrow!

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/gods-code-protects-priceless-life-we.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品

The art collections handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/art-collections-handed-down-from-family.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝正統年製官窯五彩歐洲使節天朝進貢人物風景紋天球瓶

A Wucai European Envoy presenting Tribute to the Sovereign of China Figures and Landscape Bottle Vase Tianqiuping Imperial Palace Workshop Zhengtong Period (1436 - 1449) Four-character Seal-mark Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/05/wucai-european-envoy-presenting-tribute.html

...

網誌 Blogger：

Orion Museum

文章 Article：

五代後周時期柴官窯綠釉皇室工藝底部篆印 “柴” 一字款雙龍紋薄胎鏤空管心瓶

Chai imperial kiln green glaze royal craftsmanship with bottom seal-marked-and-printed one-character "Chai", double dragon patterns, thin shell, hollow-carved, tube heart, Bottle Vase, Imperial Palace Workshop, Hou Zhou Period (921 - 959 A.D.) Five Dynasties.

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/chai-imperial-kiln-green-glaze-royal.html

...

網誌 Blogger：

Orion Museum

文章 Article：

宋元吉州窯黑釉玳瑁天目釉鷓鴣斑曜變茶盞

Song and Yuan Dynasty Jizhou Kiln Black-glazed, tortoiseshell Yohen tenmoku (kiln change) painted "partridge's speckling" splashes tea bowl

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/song-and-yuan-dynasty-jizhou-kiln-black.html

...

網誌 Blogger：

Orion Museum

文章 Article：

明朝開國功臣軍事大元帥陳秀甫家族祖傳的傳世藝術收藏品(瓷器)

The art collections (Ceramics) handed down from the family ancestors of the military marshal Chen Xiufu, the founding hero of the Ming Dynasty

連結 Link：

https://orionsmuseum.blogspot.com/2022/06/art-collections-ceramics-handed-down.html

...

Orion Museum

外部連結 External Links

Google Photos 照片：

https://photos.app.goo.gl/SjsYjQvcWXH1UoAT8

YouTube Videos 影片：

https://youtube.com/c/OrionHsuMuseum

...

Thirty pieces of Fine and Rare Chinese Archaic Ceramics

30 件重要又稀少之中國瓷器

(01)01-A Song Celadon Porcelain Moon-flask with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Dragon Handles Imperial Palace Workshop Xuanhe four-character dark-brown seal mark and of the period (1119-1125) Song dynasty.

Size:

Height 22.2 x Maximum Abdomen Width 16.5 x Top Mouth Diameter 5.4 x Maximum elliptical Base-stand foot Diameter 8.2 x Minimum elliptical Base-stand foot Diameter 5.1 cm

Authentication:

(1) Having both gold and black colored crackles in Song dynasty those have not been successfully made nowadays.

(2) Having violet colored mouth edge in Song dynasty.

(3) Having black colored foot edge in Song dynasty.

(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.

(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(02)02-A Song Celadon Porcelain Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design and two Pipe-like Handles Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).

Size:

Height 26 x Maximum Abdomen Diameter 15 x Maximum Top Mouth Diameter 10.1 x Maximum elliptical Base-stand foot Diameter 11.7 x Minimum elliptical Base-stand foot Diameter 9.9 cm

Authentication:

(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.

(2) Having violet colored mouth edge in Song dynasty.

(3) Having black colored foot edge in Song dynasty.

(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.

(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-014022-N000000000 Imperial Palace Workshop Southern-Song dynasty (1127-1279) Size: Height 26.6 x Maximum Top Mouth Diameter 11 cm.

(03)03-A Song Celadon Porcelain Six-petaled Lotus Vase with Gold-light-Iron-dark-lines Crackles and Violet-mouth-Iron-black-foot Design Imperial Palace Workshop one-character dark-brown official seal mark Song dynasty (960-1279).

Size:

Height 22 x Maximum Abdomen Diameter 12 x Maximum Top Mouth Diameter 9.6 x Maximum Six-petaled Lotus round Base-stand foot Diameter 7.2 cm

Authentication:

(1) Having both light-gold-white and black colored crackles in Song dynasty those have not been successfully made nowadays.

(2) Having violet colored mouth edge in Song dynasty.

(3) Having black colored foot edge in Song dynasty.

(4) Having fire-flint dark-red colors at the foot edge in Song dynasty those should have been generated for hundreds of years.

(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(04)04-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Plate Mouth Northern-Song dynasty (960-1127).

Size:

Height 21.3 x Maximum Abdomen Diameter 9 x Top Mouth Diameter 6.4 x round Base-stand foot Diameter 7 cm

Authentication:

(1) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song dynasty those should have been generated for hundreds of years.

(2) Having light-glazed mouth edge in Song dynasty.

(3) Having five burning-supporting nail-head marks whose shapes are as small round millets at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.

(4) Having fire-flint earth-yellow colors inside the five burning-supporting nail-head marks at the outer surface of bottom and shrunk-glaze-holes around the porcelain body in the Ru kiln Song dynasty those should have been generated for hundreds of years.

(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(05)05-A Song Ru Kiln Sky-blue-glazed Porcelain Small Dish with Crackles Northern-Song dynasty (960-1127).

Size:

Height 3.1 x Top Mouth Diameter 13.9 x round Base-stand foot Diameter 9.3 cm

Authentication:

(1) Having the marks of agate being mixed in the glaze those should have been made in the Ru kiln Song dynasty.

(2) Having light-glazed foot edge in Song dynasty.

(3) Having three burning-supporting nail-head marks whose shapes are as small elliptical millets at the outer bottom of the small dish those should have been made in the Ru kiln Song dynasty.

(4) Having fire-flint earth-yellow colors inside the three burning-supporting nail-head marks at the outer surface of bottom in the Ru kiln Song dynasty those should have been generated for hundreds of years.

(5) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(9) A similar same-period object has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-009827-N000000000 Imperial Palace Workshop Northern-Song dynasty (960-1127) Size: Height 3.3 x Top Mouth Diameter 13 x round Base-stand foot Diameter 9 cm.

(06)06-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Dish with Crackles Song dynasty (960-1279).

Size:

Height 4 x Top Mouth Diameter 18.6 x round Base-stand foot Diameter 8.6 cm

Authentication:

(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.

(2) Having light-glazed mouth edge in Song dynasty.

(3) Having manually pulled spiral shapes at the outer wall and bottom of the dish those should have been made in the Jun kiln Song dynasty.

(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the dish those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(07)07-A Song Jun-kiln Celadon-glazed and Copper-red Porcelain Vase with two handles and Crackles Song dynasty (960-1279).

Size:

Height 18 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 5.6 cm

Authentication:

(1) Having a copper-red colored mark mixed in the celadon-glazed surface that should have been made in the Jun kiln Song dynasty.

(2) Having light-glazed mouth edge in Song dynasty.

(3) Having manually pulled spiral shapes at the outer wall and bottom of the vase those should have been made in the Jun kiln Song dynasty.

(4) Having fire-flint earth-yellow colors at the outer wall and bottom clay of the vase those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked light-colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(08)08-A Liao Celadon-glazed Porcelain Leather-bag-flask with Horse-riding Design and crackles (Broken Handle) Liao dynasty (1031-1218).

Size:

Height 33.3 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 4.6 x round Base-stand foot Diameter 10.4 cm

Authentication:

(1) Having leather-bag-flask with horse-riding design that should have been made in the Liao dynasty.

(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.

(3) Having manually pulled spiral shapes at the bottom of the flask those should have been made in the Song/Liao/Yuan dynasty.

(4) Having fire-flint earth-yellow colors at the bottom clay of the flask and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.

(5) Having manually glaze-painting technique in Song/Liao/Yuan dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size at random place in Song/Liao/Yuan dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked earth-yellow colored crackles through the earth in Song/Liao/Yuan dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song/Liao/Yuan dynasty that has not been used nowadays.

(09)09-A Yuan Blue and White Jar with Octagon-mouth Lotus-shaped Cover and Walking Three-claw Dragon Design Yuan dynasty (1206-1368).

Size:

Height with cover 33 x Height without cover 28 x Maximum Abdomen Diameter 33 x Maximum Top Octagon-Mouth Width 19.7 x Maximum Bottom Octagon-Base-stand foot Width 21.3 cm

Authentication:

(1) Having a walking three-claw dragon design that should have been made in the Yuan dynasty.

(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them at both outer and inner wall of the jar as well as the cover in Yuan dynasty those should have been generated for hundreds of years.

(3) Having manually pulled spiral shapes at the bottom of the jar and the inner wall of the cover those should have been made in the Yuan dynasty.

(4) Having fire-flint earth-yellow colors at the bottom clay of the jar and the shrunk-glaze-holes on the porcelain body those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having a pale greenish lake-water-like tinge out of white on the surface in Yuan dynasty that should have been formed in the ancient wood-burning kiln.

(8) Having dry clay in Yuan dynasty that has not been used nowadays.

(9) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.

(10)10-A Yuan Blue and White Under-glaze Red Porcelain Mongolia-dwelling-tent-bowl with cover and Floral Phoenix Design Yuan dynasty (1206-1368).

Size:

Height with cover 15.5 x Height without cover 8.5 x Top Mouth Diameter 25 x round Base-stand foot Diameter 17 cm

Authentication:

(1) Having a phoenix totem on the Mongolia-dwelling-tent-shape cover design that should have been made in the Yuan dynasty.

(2) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them at both outer and inner wall of the bowl as well as the cover in Yuan dynasty those should have been generated for hundreds of years.

(3) Having manually pulled spiral shapes at the bottom of the bowl and the inner wall of the cover those should have been made in the Yuan dynasty.

(4) Having fire-flint earth-yellow colors at the bottom clay of the bowl and the shrunk-glaze-holes as well as the unglazed clay on the porcelain body those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having a pale greenish lake-water-like tinge out of white on the surface in Yuan dynasty that should have been formed in the ancient wood-burning kiln.

(8) Having dry clay in Yuan dynasty that has not been used nowadays.

(10) A similar same-period object has been collected in the State Hermitage Museum, St. Petersburg, Russia. This object was also lent to be exhibited in Jan. 2013 at the Shanghai Museum, Shanghai, China.

(11)11-A Xuande Blue and White and Under-glaze Red Porcelain Moon-flask with Floral and Eight-treasures Design and two Handles Imperial Palace Workshop Xuande period (1426-1435) Ming dynasty.

Size:

Height 30.5 x Maximum Abdomen Diameter 22 x Depth 10 x Top Mouth Diameter 5 x rectangular Base-stand foot Length 9.8 x rectangular Base-stand foot Width 6.8 cm

Authentication:

(1) Having an eight-treasure design that should have been made in the Yuan/early-Ming dynasty.

(2) Having shrunk-glaze-holes at the outer wall of the flask in Ming dynasty.

(3) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.

(4) Having fire-flint earth-yellow colors at the bottom foot clay those should have been generated for hundreds of years.

(5) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.

(6) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.

(8) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.

(12)12-A Xuande Blue and White Bottle Gourd Porcelain Vase with Floral Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.

Size:

Height 34 x Maximum Abdomen Diameter 18 x Top Mouth Diameter 3.5 x round Base-stand foot Diameter 11 cm

Authentication:

(1) Having a bottle gourd design that should have been made in the Yuan/early-Ming dynasty.

(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.

(3) Having fire-flint earth-grey colors at the bottom foot clay those should have been generated for hundreds of years.

(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.

(5) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.

(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.

(7) Having manually pulled spiral shapes at the bottom of the vase and the inner wall of the mouth those should have been made in the Yuan/Ming dynasty.

(8) Having dry clay in Yuan/Ming dynasty that has not been used nowadays.

(13)13-A Xuande Blue and White Porcelain Bowl with Walking Five-claw Dragon Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.

Size:

Height 10.8 x Top Mouth Diameter 21.8 x round Base-stand foot Diameter 8.6 cm

Authentication:

(1) Having a walking five-claw dragon design that should have been made in the Ming dynasty.

(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.

(3) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.

(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.

(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.

(7) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.

(14)14-A Xuande Blue and White Porcelain Stemcup with Pine Bamboo and Plum Design Imperial Palace Workshop Xuande six-character blue seal mark and of the period (1426-1435) Ming dynasty.

Size:

Height 10.4 x Maximum Abdomen Diameter 8 x Top Mouth Diameter 11.2 x round Base-stand foot Diameter 5.2 cm

Authentication:

(1) Having a stem-cup design that should have been made in the Yuan/Ming dynasty.

(2) Having the hyper-thick-glaze surface of Xuande blue and white porcelain that is usually not very flat, like orange peel.

(3) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.

(4) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.

(6) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.

(7) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.

(15)15-A Chenghua Doucai Red Porcelain Cup with Double Phoenixes Design and Crackles Imperial Palace Workshop Chenghua six-character blue seal mark and of the period (1465-1487) Ming dynasty.

Size:

Height 5.5 x Top Mouth Diameter 9 x round Base-stand foot Diameter 4 cm

Authentication:

(1) Having a Doucai phoenix design that should have been made in the Chenghua period Ming dynasty.

(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.

(3) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.

(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and white colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.

(5) Having crackles on green and yellow colored portion those should have been formed for hundreds of years.

(6) Having both red and ivory-yellow colored clay that has been exhausted and not been used nowadays.

(16)16-A Kangxi Famille Verte (Wucai) Porcelain Vase with Dragon and Phoenix Design Imperial Palace Workshop Kangxi six-character blue seal mark and of the period (1662-1722) Qing dynasty.

Size:

Height 43 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 16.2 x round Base-stand foot Diameter 14 cm

Authentication:

(1) Having a famille verte (Wucai) dragon and phoenix design that should have been made in the Kangxi period Qing dynasty.

(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.

(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.

(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon blue, red and white colors as bubble-sea in the Kangxi period Qing dynasty those should have been formed in the ancient wood-burning kiln.

(5) Having crackles on green and yellow colored portion those should have been formed for hundreds of years.

(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yuan/Ming/early-Qing dynasty.

(17)17-A Yongzheng Enameled in the Famille Rose palette Porcelain Vase with Floral and Butterflies Design Imperial Palace Workshop Yongzheng six-character blue seal mark and of the period (1723-1735) Qing dynasty.

Size:

Height 41 x Maximum Abdomen Diameter 22 x Top Mouth Diameter 10.8 x round Base-stand foot Diameter 13.3 cm

Authentication:

(1) Having an Enameled in the Famille Rose palette Floral and Butterflies Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.

(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.

(3) Having manually heavy-glaze-painting technique in Qing dynasty that has not been used nowadays.

(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and red colors as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.

(5) Having crackles on green, yellow and milky-white colored portion those should have been formed for hundreds of years.

(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yongzheng/Qianlong dynasty.

(7) Having the inner-shell-of-bivalve-reflecting clam-light on milky-white colored Famille Rose palette that should have been formed for hundreds of years.

(18)18-A Yongzheng Enameled Eggshell Porcelain Vase with Western Family and a Villa Garden Design Imperial Palace Workshop Yongzheng four-character blue seal mark and of the period (1723-1735) Qing dynasty.

Size:

Height 23.5 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.6 x round Base-stand foot Diameter 6.2 cm

Authentication:

(1) Having an enameled western Family and a villa garden together with fine and delicate painting, calligraphy, three red leisure seals, and poem Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.

(2) Having an eggshell manual-body-construction technique that has not been done successfully nowadays.

(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.

(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white and golden surfaces together with sky-green base as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.

(5) Having crackles on sky-green colors at outer-base, inner wall at the top mouth, and floral decorations at top, neck and bottom, yellow flower at garden, green leaves at the hat on head of the man those should have been formed for hundreds of years.

(6) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the Yongzheng/Qianlong dynasty.

(7) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.

(19)19-A Qianlong Enameled Porcelain Vase with Flowers and Birds Peacock and Peahen Design Imperial Palace Workshop Qianlong six-character blue seal mark and of the period (1736-1795) Qing dynasty.

Size:

Height 32.5 x Maximum Abdomen Diameter 20 x Top Mouth Diameter 6.3 x round Base-stand foot Diameter 10.1 cm

Authentication:

(1) Having an enameled flowers and birds peacock and peahen together with fine and delicate painting, calligraphy, three red leisure seals, and poem Design that should have been made in the Yongzheng/Qianlong period Qing dynasty.

(2) Having fire-flint earth-yellow colors at the foot clay those should have been generated for hundreds of years.

(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.

(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon white surface and green color at peacock tail feathers as bubble-sea in the Yongzheng/Qianlong period Qing dynasty those should have been formed in the ancient wood-burning kiln.

(5) Having crackles on green colored leaves and yellow cheek of peacock head those should have been formed for hundreds of years.

(6) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.

(7) An enameled porcelain bowl with similar peacock design has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-013983-N000000000 Imperial Palace Workshop Yongzheng four-character blue seal mark and of the period (1723-1735) Qing dynasty Size: Height 15.2 cm. This bowl was lent to be exhibited in the Tokyo National Museum Japan from 2014/6/24 to 2014/9/15 and the Kyushu National Museum Japan from 2014/10/7 to 2014/11/30.

(20)20-A Qianlong Enameled Porcelain Bowl with Yellow Ground Four Windows Western Figures and Red-decorated Landscape Design Imperial Palace Workshop Qianlong four-character blue seal mark and of the period (1736-1795) Qing dynasty.

Size:

Height 6.8 x Top Mouth Diameter 15.1 x round Base-stand foot Diameter 6.7 cm

Authentication:

(1) Having an enameled yellow ground, four windows, western figures and red-decorated landscape Design that should have been made in the Qianlong period Qing dynasty.

(2) Having fire-flint earth-grey colors at the foot clay those should have been generated for hundreds of years.

(3) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.

(5) Having crackles on yellow, blue, sky-blue ground at the outer wall, sky-green ground at the inner wall and outer bottom of bowl those should have been formed for hundreds of years.

(6) Having ivory-yellow colored clay that has been exhausted and not been used nowadays.

(21)21-A Northern Song Ding Kiln White ground Wucai Porcelain Lotus-mouth shaped Vase with carved and gilt Playing Children by Butterfly and Flowers Design and two Elephant-trunk Handles (two cracks in the neck) Imperial Palace Workshop two-character “Yi Ding” carved and gilt seal mark Northern Song (960-1127) dynasty.

Size:

Height 28.5 x Maximum Abdomen Width 14 x Maximum Top Mouth Length 7.2 x Minimum Top Mouth Width 6.3 x round Base-stand foot Diameter 7.7 cm

Authentication:

(1) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding Kiln in Northern Song dynasty those are not made by the modern techniques.

(2) Having two-character “Yi Ding” carved and gilt seal mark by Ding Kiln in Northern Song dynasty that is not made by the modern technique.

(3) Having sixteen-character “Lotus giving birth to its Lotus Flower, Lotus planting in the River and giving birth to its Lotus Blossoms, Dedicating with it at the center of the River to the Buddha!” carved and gilt imperial Buddhist blessing inscription for the Buddha by Ding Kiln in Northern Song dynasty that is not made by the modern technique.

(4) Having fire-flint earth-yellow colors at the foot edge in Northern Song dynasty those should have been generated for hundreds of years.

(5) Having manually glaze-painting technique in Northern Song dynasty that has not been used nowadays.

(6) Having deeply earth-water-soaked colored spots all-over the surface of the vase by Ding Kiln in Northern Song dynasty those should have been generated for hundreds of years.

(22)22-A Yongle Blue and White quadruped Water-dropper with Flowers and Phoenixes on Sea Waves Design and Sea Ship Shape Imperial Palace Workshop Yongle four-character carved seal mark and of the period (1403-1424) Ming dynasty.

Size:

Height 20 x Length 22 x Width 11 x quadruped Base-stand foot Length 12 x quadruped Base-stand foot Width 5 cm

Authentication:

(1) Having Flowers and Phoenixes on Sea Waves Design and Sea Ship Shape those should have been made in the Yongle period Ming dynasty during the great sea adventures by Zheng Ho (1371-1435) who was a powerful imperial eunuch of the Emperor Yongle and was commanded to sail for seven expeditions as far as the east coast of Africa and seashores of Red Sea with a large imperial fleet from 1405 to 1433.

(2) Having fire-flint red colors at the bottom clay those should have been generated for hundreds of years.

(3) Having manually heavy-glaze-painting technique in Ming dynasty that has not been used nowadays.

(4) Having under-glaze bubbles of random size everywhere at the glaze painted body upon both blue and red colors as bubble-sea in Ming dynasty those should have been formed in the ancient wood-burning kiln.

(5) Having a pale greenish lake-water-like tinge out of white on the surface in Ming dynasty that should have been formed in the ancient wood-burning kiln.

(6) Having little black defect-spots formed by the cobalt material of Sumali-smalt green dyestuff that would have created a natural misty phenomenon under firing with a flash of silver-white tin light on the heavy-blue-glazed surface and had been commonly used both in Yuan dynasty and the Yongle/Xuande period Ming dynasty. The supply source of imports and its actual origin of the Sumali-smalt green dyestuff have been unknown in modern times and become untraceable. Its supply could not be obtained nowadays. The Sumali-smalt green dyestuff consists of low manganese and high iron ingredients and this will reduce red and purple colors to be shown. With an appropriate level of firing attainment, a splendid heavy green and blue color can be burnt out such as the blue gloss of a sapphire with elegant and solemn color, attractively bright-colored surface, and clear structure. However the Sumali-smalt green dyestuff consists of high ingredient of iron element, it will often form some black cobalt material defect-spots to be left with a flash of silver-white tin light at the heavy-glazed blue firing parts.

(7) Having Yongle four-character carved seal mark at the bottom clay that is not made by the modern technique.

(23)23-A Tang Sancai Pottery Vase with four Dragon-heads, four Plum Blossoms, four Rings, twisted Ropes Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).

Size:

Height 27 x Maximum Abdomen Diameter 26.5 x round Base-stand foot Diameter 11.8 cm

Authentication:

(1) Having both glazed teardrops, and manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.

(2) Having burned-out remains of stepping-earth at the foot bottom by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.

(3) Having manually glaze-painting technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.

(4) Having very fine spider’s-web-crackles with white dots all-over the glazed surface of the vase those should have been generated for hundreds of years.

(5) Having fine and tiny black sands all-over the surface of the pottery body by Tang Sancai Kiln in Tang dynasty those are not refined by the modern clay-washing technique.

(6) Having the inner-shell-of-bivalve-reflecting clam-light at some surface of the glaze by Tang Sancai Kiln in Tang dynasty that should have been generated for hundreds of years.

(24)24- A Tang Yue Kiln Celadon-glazed Bottle Gourd Porcelain Vase with two Handles and very fine crackles Tang Dynasty (618-907).

Size:

Height 21.5 x Maximum Abdomen Diameter 11.5 x round Base-stand foot Diameter 6.7 cm

Authentication:

(1) Having manually glaze-painting technique in Tang dynasty that has not been used nowadays.

(2) Having thin-and-light-celadon-glazed surface by Yue Kiln in Tang dynasty.

(3) Having five burning-supporting nail-head marks whose shapes are as slim pine seeds at the outer bottom of the vase those should have been made by the Yue Kiln in Tang dynasty.

(4) Having under-glaze bubbles of random size at random place by the Yue Kiln in Tang dynasty those should have been formed in the ancient wood-burning kiln.

(5) Having dry grey-white clay in Tang dynasty that has not been used nowadays.

(6) Having wide-opened ditch-shaped crackles all-over the celadon-glazed surface of the vase those should have been generated for hundreds of years.

(7) Having fine and tiny black sands all-over the surface of the body clay by the Yue Kiln in Tang dynasty those are not refined by the modern clay-washing technique.

(25)25-A Northern Song Ding Kiln White Porcelain Meiping Vase with carved Flowers Design and crackles Imperial Palace Workshop two-character “Yi Ding” carved seal mark Northern Song (960-1127) dynasty.

Size:

Height 28.5 x Maximum Abdomen Width 15 x Top Mouth Diameter 3.7 x round Base-stand foot Diameter 8.4 cm

Authentication:

(1) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze by Ding Kiln in Northern Song dynasty those are not made by the modern techniques.

(2) Having two-character “Yi Ding” carved seal mark by Ding Kiln in Northern Song dynasty that is not made by the modern technique.

(3) Having fire-flint grey-white colors at the foot edge in Northern Song dynasty those should have been generated for hundreds of years.

(4) Having manually glaze-painting technique in Northern Song dynasty that has not been used nowadays.

(5) Having fine ice-crackles all-over the white glazed surface of the vase those should have been generated for hundreds of years.

(6) Having fine and tiny black sands all-over the surface of the porcelain body by Ding Kiln in Northern Song dynasty those are not refined by the modern clay-washing technique.

(7) Having milky-white color of the white glaze by Ding Kiln in Northern Song dynasty that is not the pure white color of the white glaze used by the modern technique.

(26)26-A Tang Sancai Pottery Dish with four Fishes, four Blossoms, eight Lotus Petal-rim Design and very fine crackles together with the inner-shell-of-bivalve-reflecting clam-light Tang Dynasty (618-907).

Size:

Height 3.4 x Diameter 18 x round Base-stand foot Diameter 5.5 cm

Authentication:

(1) Having both glazed teardrops, and manually pulled round circle lines under the glaze by Tang Sancai Kiln in Tang dynasty those are not made by the modern techniques.

(2) Having three burning-supporting nail-head marks whose shapes are as small round rice at the outer bottom of the dish that has the same 3.9 cm distance between each burning-supporting nail-head mark as the three burning-supporting nail-head model in the Tang Sancai kiln unearthed at the Huang Ye Kiln in Gong YI City Henan Province China those are not made by the modern techniques.

(3) Having white color pottery at the three burning-supporting nail-head marks that is not used by the modern porcelain clay material.

(4) Having manually glaze-painting technique by Tang Sancai Kiln in Tang dynasty that has not been used nowadays.

(5) Having very fine spider’s-web-crackles with white and dark dots all-over the glazed surface of the dish those should have been generated for hundreds of years.

(6) Having fine and tiny dark sands all-over the surface of the pottery body by Tang Sancai Kiln in Tang dynasty those are not refined by the modern clay-washing technique.

(7) Having the inner-shell-of-bivalve-reflecting clam-light at some surface of the glaze by Tang Sancai Kiln in Tang dynasty that should have been generated for hundreds of years.

(8) There are several similar Tang Sancai Pottery Dishes collected by the Musée Guimet in Paris France and the Metropolitan museun of Art in New York U.S.A.

(27)27-A Song Celadon Porcelain Guan-type “Touhu (An ancient game-pot to be thrown into arrows)” Vase with Hexagonal body, two Hexagonal tubular lug handles by the mouth and a tall neck, Gold-light-Iron-dark-lines Crackles and Iron-black-foot Design Imperial Palace Workshop Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071) Emperor Shenzong Northern Song dynasty together with the inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739).

Size:

Height 20.2 x Maximum Abdomen Width 13.2 x Maximum Top Hexagonal Mouth Diameter 5.8 x Maximum Hexagonal Base-stand foot Diameter 9.1 cm

Carved Inscription by Emperor Qianlong Qing dynasty in Qianlong Fourth Year (A.D. 1739):

(1) In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15^th, 2008), with “Qian Style” two-character carved seal mark.

(2) Xining Fourth Year four-character carved seal mark and of the year (A.D. 1071 Emperor Shenzong Northern Song dynasty).

Authentication:

(1) Having both Gold-light-lines and Iron-dark-lines Crackles in Song dynasty those have not been successfully made nowadays.

(2) Having Iron-black colored foot edge in Song dynasty.

(3) Having fire-flint earth-yellow colors at the foot rim in Song dynasty those should have been generated for hundreds of years.

(4) Having manually glaze-painting technique in Song dynasty that has not been used nowadays.

(5) Having under-glaze bubbles of random size at random place in Song dynasty those should have been formed in the ancient wood-burning kiln.

(6) Having deeply soaked colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(7) Having dark-black colored clay in Song dynasty at the carved inscription area that is not used by the modern porcelain clay material.

(8) Having fine and tiny dark sands all-over the surface of the body clay in Song dynasty those are not refined by the modern clay-washing technique.

(9) Having sky-green colored celadon glaze in Song dynasty that has not been used nowadays.

(10) Emperor Qianlong Qing dynasty ordered to carve the “Xining Fourth Year” four-character seal mark and of the year (A.D. 1071 Emperor Shenzong Northern Song dynasty) on the surface of the vase and this seal mark has officially proved its age of creation.

(11) Emperor Qianlong Qing dynasty ordered to carve the “In the summer of Great Qing Qianlong Fourth Year (Ji Wei Year), this was set to be the imperial appreciation treasure at Palace Wen Hua (this Palace was set to be the Ceramics Museum of Beijing Palace Museum on July 15^th, 2008)”, together with “Qian Style” two-character carved seal mark on the surface of the vase and this inscription has officially proved its valuable treasure-like authenticity.

(12) The carvings of inscription on the surface of the vase by Emperor Qianlong Qing dynasty were made artificially and evenly to be spread upon curved and arched skin glaze of the vase manually with ancient Jade-carving techniques those have not been used nowadays.

(13) The carvings of inscription on the surface of the vase by Emperor Qianlong Qing dynasty contained written Manchu language characters those were historically matched the inscription style of Emperor Qianlong in early Qianlong period upon his favorite Chinese fine and rare paintings and ceramics. In middle and end Qianlong period, his inscription style became all written Chinese language characters without any written Manchu language character. Historically being a Manchu Emperor of Chinese people, he had been assimilated by the Chinese culture while appreciating these fine Chinese works of art.

(14) This Touhu (An ancient game-pot to be thrown into arrows) vase was for an ancient Chinese game during a feast in which the winner was decided by the number of arrows thrown into a distant Touhu pot. A similar same-function celadon Touhu vase has been collected in the Taipei National Palace Museum with museum number NPM-Porcelain-003189-N000000000 made by Longquan kiln in Ming dynasty (1368-1644) Size: Height 33.2 x Top Mouth Diameter 9.2 x round Base-stand foot Diameter 13.4 cm.

(28)28-A Song Ru Kiln Sky-blue-glazed Porcelain Bottle with two Ears and Hexagonal body “Cai” one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer central surface of the bottle Northern-Song dynasty (960-1127).

Size:

Height 21.3 x Maximum Abdomen Width 9.2 x Maximum Top Hexagonal Mouth Diameter 6.6 x Maximum Hexagonal Base-stand foot Diameter 6.7 cm

Authentication:

(1) Having both shrunk-glaze-holes and fire-flint earth-yellow colors inside them in Song dynasty those should have been generated for hundreds of years.

(2) Having heavier-and-brighter-colored spots glazed under a different degree those were called Yu Zi (Fish-roe) totems and were the marks of agate being mixed in the glaze those should have been made in the Ru kiln Song dynasty.

(3) Having five burning-supporting nail-head marks whose shapes are as small elliptical sesames at the outer bottom of the bottle those should have been made in the Ru kiln Song dynasty.

(5) Having manually thick-glaze-painting technique in Song dynasty that has not been used nowadays.

(6) Having as few under-glaze bubbles of random size at random place as the morning stars in Song dynasty those should have been formed in the ancient wood-burning kiln.

(7) Having deeply soaked earth-yellow colored crackles through the earth in Song dynasty those should have been generated for hundreds of years.

(8) Having dry clay in Song dynasty that has not been used nowadays.

(9) “Cai” one-character carved seal mark and of the period (A.D. 1101- A.D. 1126 Prime Minister Cai Jing of Emperor Huizong Northern Song dynasty) at the bottom outer central surface of the bottle has officially proved its valuable authenticity. This “Cai” one-character carved seal mark was done before it was glazed and burned in the kiln, and should have been made in the Ru kiln Song dynasty.

(10) Having deeply soaked earth-yellow colored skin of the glazed surface through the earth in Song dynasty that should have been generated for hundreds of years.

(29)29-A Yuan Luanbai White glazed Porcelain Ewer Yuan dynasty (1206-1368).

Size:

Height 17.8 x Top Mouth Diameter 6.6 x round Base-stand foot Diameter 6.2 cm

Authentication:

(1) Having both shrunk-glazed spots at the outer rim of foot and fire-flint earth-yellow colors at this area together with the inner wall of the ewer in Yuan dynasty those should have been generated for hundreds of years.

(2) Having manually pulled spiral shapes at the outer bottom and the inner wall of the ewer those should have been made in the Yuan dynasty.

(3) Having fire-flint earth-yellow colors at the bottom clay of the ewer and the shrunk-glazed spots as well as the unglazed clay at the outer rim of foot and the inner wall of the ewer those should have been generated for hundreds of years.

(4) Having manually heavy-glaze-painting technique in Yuan dynasty that has not been used nowadays.

(5) Having under-glaze bubbles of random size everywhere at the glaze painted body as bubble-sea in Yuan dynasty those should have been formed in the ancient wood-burning kiln.

(6) Having a greenish duck-eggshell-like tinge out of white on the surface in Yuan dynasty that should have been formed by the unique Luanbai white glaze used in Yuan dynasty and burned in the ancient wood-burning kiln.

(7) Having dry clay in Yuan dynasty that has not been used nowadays.

(8) Having black burned-out remains of round stepping-earth at the foot bottom in Yuan dynasty those are not made by the modern techniques.

(9) Having both glazed teardrops, and bamboo-silk-brushed manually pulled round circle lines under the glaze in Yuan dynasty those are not made by the modern techniques.

(30)30-A Kangxi Blue and White Porcelain Guanyin Vase with Garlic head and Auspicious Clouds together with Cranes Design Imperial Palace Workshop Kangxi four-character blue seal mark and of the period (1662-1722) Qing dynasty.

Size:

Height 29.3 x Maximum Abdomen Diameter 11 x Top Mouth Diameter 7.7 x round Base-stand foot Diameter 8.9 cm

Authentication:

(1) Having fire-flint earth-yellow colors at the foot-rim clay those should have been generated for hundreds of years.

(2) Having manually glaze-painting technique in Qing dynasty that has not been used nowadays.

(3) Having under-glaze bubbles of random size everywhere at the glaze painted body upon blue and white colors as bubble-sea in the Kangxi period Qing dynasty those should have been formed in the ancient wood-burning kiln.

(4) Having manually pulled spiral shapes at the inner wall of the vase those should have been made in the early-Qing dynasty.

(5) Having domestic Chinese blue and white glazed colors used in the early-Qing dynasty those are light-blue and extra-ordinarily elegant and have not been used nowadays.

(6) Having extremely smooth skin on the glazed surface of the vase that meets with the critical requirement of fine blue and white glazed ceramics from the Imperial Palace Workshop in Kangxi period.