OBJECT GUIDE
Art of China and Japan
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Version 3.30.2016
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ACKLAND ART MUSEUM
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This Object Guide is made possible by the generous support of the Carolina Asia Center and
the Title VI grant from the United States Department of Education.
Ackland Art Museum
Art of China and Japan
1
Unidentified artist
Chinese, Ming dynasty (1368 – 1644 CE)
Guan Yu, 1490s
wood, lacquer and lacquer paste, leather,
and hair, polychromed and gilded
The William A. Whitaker Foundation Art
Fund, 95.2

This date for this sculpture is based on the technique used to carve the drapery
and the style of the floral pattern in the costume.

Guan Yu’s was a Chinese general who was captured and executed by his
enemies in 219 CE. He appeared as a heroic character in the novel The Romance of
the Three Kingdoms, written in the fourteenth century. In 1594, a century after this
sculpture was made, the emperor officially elevated Guan Yu to divine status.

For many in Ming dynasty China, it was important to celebrate the culture of the
Han dynasty (206 BCE – 220 CE), nostalgically making connections with that
era’s noted accomplishments.
Ackland Art Museum
Art of China and Japan
2,3
Unidentified artist
Chinese, Tang dynasty (618 – 907 CE)
Tomb Guardian Figures, 7th century
gray earthenware with cold-painted
pigments and gold leaf
Gift of the Tyche Foundation, 2010.20.2
(left) and 2010.20.1 (right)

Chinese tombs during the Tang dynasty were often guarded by pairs of
sculptures with weapons and grimacing faces to scare away evil spirits (and
tomb robbers) that would disturb the afterlife of those buried within.

These two tomb guardians are notable for the vibrancy of the surviving color and
for their unusual slender form, frontal pose, tall helmets, and relatively static
stance on U-shaped bases. Many other guardian figures from the Tang dynasty
are more dynamically posed than these and shown standing on rocks or
trampling on demons.

In Tang dynasty tombs, core groups of figures generally included ceramic figures
of two guardians like these, two guardian beasts, a pair of officials, and a group
of horsemen, camels, and their grooms.
Ackland Art Museum
Art of China and Japan
4,5
Unidentified artist
Chinese, Northern Wei dynasty (386 –
534 CE)
Tomb Guardian Figures, early 6th
century
gray earthenware
Gift of the Tyche Foundation, 2010.22.1
(left) and 2010.22.2 (right)

Wei dynasty figures became more elongated than their predecessors from the
Han dynasty (206 BCE – 220 CE). The stance of these figures is more elegant than
intimidating.

Both of these are dressed in high ceremonial hats, billowed long trousers bound
at the knee, and robes with voluminous sleeves. They carry swords and wear
two-part armor with front and back panels connected by straps.

They are modeled in the three-quarter round (with a flat area at the back), which
is typical of figures from this period.
Ackland Art Museum
Art of China and Japan
6,7
Unidentified artist
Chinese, Han dynasty? (206 BCE –
220 CE)
Taotie Masks with Ring Handles
bronze
The William A. Whitaker Foundation Art
Fund, 91.11ab (left) and 91.12ab (right)

Taotie masks are the most important decorative motif in ancient Chinese art and
they appear throughout later periods as well. Typically they have large, glaring
eyes, fangs, curled lips, and horns.

Because of the size of these taotie masks, it is likely that they functioned as
handles on the door to a chamber in a tomb, guarding the tomb from intruders.

The bronze casting in these handles leaves crisp edges in the scrolls around the
monsters’ eyes, their heads, and the concentric circles in the rings.
Ackland Art Museum
Art of China and Japan
8
Unidentified artist
Chinese, Han dynasty (206 BCE – 220 CE)
Architectural Panel
gray earthenware
Spain Purchase Fund and The William A.
Whitaker Foundation Art Fund, 2011.2

One notable change in Han dynasty burial practice was the introduction of
multi-chambered tombs, richly decorated with architectural elements. This brick
was possibly a lintel placed above the doorway between rooms.

In the center of the front panel, there is a taotie mask in high relief. It is framed
by trellis borders and flanked by wide rows of stylized trees and roundels. There
are also human figures, serpents, and a border design of running dragons. On
the reverse side, the broad frieze includes more trees, roundels, and triangular
foliate motifs within matching trellis borders.

The decoration includes both hand-molded and stamped decorations. One tree
on the front side is double stamped, to correct the placement of the tree form in
the overall pattern.

Because it is hollow, it probably dates from around the first century CE. Bricks
made later were solid.
Ackland Art Museum
Art of China and Japan
9
Unidentified artist
Japanese, Kofun period (c. 200 – 538 CE)
Mirror with Daoist Decoration, 3rd-4th
century
bronze
Gift of Charles Millard, 91.144

The decoration of this mirror includes two seated figures, who are probably
Daoist divinities.

At the right of the mirror, there is a one-horse carriage. Proceeding clockwise, the
decoration continues: Xi Wangmu, Queen Mother of the West; a four-horse
carriage; Dong Wangfu, King Father of the East. Interspersed among these
figures are representations of four miniature mirrors.

The mirror was made in imitation of Chinese designs, but some motifs, like the
chariots that the figures ride in, are Japanese.
Ackland Art Museum
Art of China and Japan
10
Unidentified artist
Chinese, Eastern Han dynasty (25 –
220 CE)
Mirror with Daoist Divinities, 2nd or
3rd century
bronze
Gift of Clara T. and Gilbert J. Yager in
honor of Timothy A. Riggs, 2007.8.7

Ancient Chinese mirrors were cast in bronze alloy that appeared silver when
polished. The smooth side was polished until it gave a clear reflection; the back
was elaborately decorated. At the center of the back a cord was strung through
the knob in the center, so that the mirror could be handled without touching and
tarnishing its surface.

Mirrors were associated with courtship, marriage, and family life, but also with
the presentation of the cosmic order.

The imagery on this mirror includes Daoist divinities associated with the four
points of the compass, each riding on a dragonlike beast: Xi Wangmu the Queen
Mother of the West (left); Dong Wangfu the King Father of the East (right); Boya
the Musician (top); and Huangdi the Yellow Emperor (bottom).
Ackland Art Museum
Art of China and Japan
11
Unidentified artist
Chinese, Six Dynasties period (220 –
589 CE)
Mirror with the Animals of the Four
Directions, 3rd-4th century
bronze
Ackland Fund, 92.24

This mirror features the animals known as the Four Divine Beasts, who are
associated with the points of the compass. Clockwise from the top they are: the
Black Tortoise of the North (entwined with a snake), the Blue Dragon of the East,
the Red Bird of the South and the White Tiger of the West.

The central knob on this mirror represents the center of the earth, which in
Chinese cosmology was depicted as a mountain. Just inside the outer drifting
cloud border is a saw tooth pattern symbolic of cosmic mountains believed to
surround the sky along the edges of the universe.

Besides bringing good fortune to the family, the ancient Chinese mirror was also
a mandala, a symbolic map of the cosmos.
Ackland Art Museum
Art of China and Japan
12
Unidentified artist
Chinese, Eastern Han dynasty (25 –
220 CE)
Mirror, 2nd or 3rd century
bronze
Bequest of Gilbert J. Yager, 2007.8.6

Two bands of decoration on this mirror include small knobbed disks that
represent miniature mirrors. They symbolize future children and grandchildren
who will carry on the family of the person owning the mirror.

The outer circle includes images of seven mythical beings. Four of these are the
divine beasts that represent the points of the compass; one of them – the phoenix
– is represented twice while the turtle and snake, the tiger, and the dragon are
each shown once. In addition, there is a chimera and a mountain sprite.
Ackland Art Museum
Art of China and Japan
13
Unidentified artist
Chinese, Tang dynasty (618 – 907 CE)
Mirror with Lion and Grapevine Pattern
bronze
The William A. Whitaker Foundation Art
Fund, 90.37

Bronze mirrors were often placed in Chinese tombs. In that context, they were
suspended over the deceased with the reflective side down.

Mirrors symbolized marital love during the Tang dynasty. Sometimes halves of
mirrors were placed in the hands of wives and husbands at their funerals so they
could find each other in the afterlife by matching the halves.

The lion and grapevine patterns on this mirror emerge from Manichaeism, which
came to China from Persia via the trade routes. Manichaeism synthesized
elements of several religions, including ancient Mediterranean religions,
Christianity, and Buddhism.
Ackland Art Museum
Art of China and Japan
14
Unidentified artist
Chinese, Han dynasty (206 BCE – 220 CE)
Model of a Storehouse
earthenware with green glaze
Gift of Smith Freeman, 2008.42.3

The objects buried in Chinese tombs were meant to furnish the deceased with the
things they would need in the afterlife. Along with a storehouse, tombs often
included models of animals, entertainers, and vessels for wine and food to make
the afterlife more hospitable.

In earlier periods, these objects were made of expensive materials such as bronze
and other precious metals, but during the Han dynasty, people increasingly
substituted ceramic models. This change deterred looters from robbing the
tombs.

The traces of green glaze covering this storehouse was a typical glaze used for
funerary items during the Han dynasty. In its current state, the glaze appears
iridescent, an effect that came from contact with the soil.
Ackland Art Museum
Art of China and Japan
15
Unidentified artist
Chinese, northern China, Yangshao
culture
Water Jar, c. 2200 BCE
painted earthenware
The William A. Whitaker Foundation Art
Fund, 90.39

The Western Yangshao culture thrived in the Yellow River Valley (in modernday Gansu province) from 3300 – 1800 BCE. The swirling black lines with red
and white details on this jar are typical of the Banshan period of that culture
(2800 – 2300 BCE).

Earthenware is a type of clay made of fine rock sediment that has undergone
minimal purification after it has been mined. Its characteristic red color comes
from iron oxide impurities in the clay.

Water jars were made for funerary purposes, and they were decorated only on
their top portion because they were partially buried in a tomb. The white dots
may represent eggs, symbolizing fertility, and by extension, life after death.

This jar was made with the coiling method, in which potters layered long coils of
clay on top of each other, and then smoothed the joins between the layers before
they fired the pots.
Ackland Art Museum
Art of China and Japan
16
Unidentified artist
Chinese, Neolithic, late Dawenkou or
Longshan culture (c. 2800 – 1500 BCE)
Long-stemmed Goblet
burnished earthenware
Gift of the Rubin-Ladd Foundation,
2013.3.1

Black earthenware vessels like this are characteristic of the Longshan culture,
centered in what is now Shandong province in China.

The potter’s wheel appeared in China around 3000 BCE (about the same time
that it was first used in Egypt) just before the earlier period of the Dawenkou
culture. The extremely thin walls of vessels like these probably could not have
been achieved without the wheel.

There are traces of brownish-gray material on the exterior and especially on the
interior of this goblet, presumably the result of having been buried in the earth.
Ackland Art Museum
Art of China and Japan
17
Unidentified artist
Chinese, late Shang dynasty (c. 1600 –
c. 1050 BCE), Anyang period (1300 –
1028 BCE)
Drinking Vessel (Gu), c. 1100 BCE
bronze
Ackland Fund, 60.13.1

This bronze drinking vessel was likely used for ritual offerings of wine. It dates
from the Shang dynasty, the oldest known Chinese dynasty. It was found at
Anyang, which was the site of the Shang capital starting in 1100 BCE.

The decoration suggests a funerary function: the long, leaf-like forms on the
upper portion of the vessel are actually cicadas, which symbolize transformation
and rebirth, and the animal masks on the lower portion, known as taotie, are
tomb guardian spirits.

Bronze was held in high esteem in the Shang dynasty because it produced harder
tools and could take on more complex shapes and decoration than copper alone.

This was one of the first Asian objects in the Ackland’s collection, purchased in
1960 from an auction by the Chapel Hill Friends Meeting. Its sale helped to fund
the construction of their current Meeting House.
Ackland Art Museum
Art of China and Japan
18
Unidentified artist
Chinese, Han dynasty (206 BCE – 220 CE)
Storage Jar (Hu)
red earthenware with molded decoration
and amber glaze
Gift of Smith Freeman, 2009.26.5

This jar was probably used to store ale made from millet, the primary cereal crop
in China.

During the Han dynasty, the potter’s craft became more standardized than in
previous centuries. This storage jar’s regular form and the high relief decoration
on its shoulders are evidence of the ceramic industry’s increasing maturity in this
period.

The deeply-carved frieze on the jar’s shoulder includes tigers, bears, a dragon, a
horse, a mountain sprite, and taotie masks with ring handles.

The animals and the mountain sprite figure may suggest that this frieze was
meant to depict the Isles of the Blessed, the paradise of Daoism, a religion that
was growing in importance during the Han dynasty.
Ackland Art Museum
Art of China and Japan
19
Unidentified artist
Chinese, Eastern Han dynasty (25 –
220 CE)
Hill Jar, 1st – 2nd century
earthenware with molded decoration and
green glaze
Ackland Fund, 88.28ab

In the Han dynasty, hill jars made in bronze functioned as wine-warming vessels
for use in daily life. Hill jars made in earthenware like this one (called boshan lu),
were models of wine-warming vessels. They were set in tombs for use by the
deceased in the afterlife, often accompanied by a heating tray, ladles, and cups.

Around the body of the jar a continuous frieze depicts animals and fairies
running in stylized hills. Two molded mask-and-ring handles indicate where real
handles may have been placed on a bronze hill jar. The tripod feet are squatting
rabbits. On the jar’s cover is a mountain range in which humans on horses and
oxen hunt tigers, monkeys, oxen, and birds.

The green glaze was made with lead and therefore poisonous. Congealed drops
of glaze on the very top of the mountains show that the lid to this hill jar was
fired upside down, probably inside the vessel itself in order to save kiln space.
Ackland Art Museum
Art of China and Japan
20
Unidentified artist
Chinese, Eastern Han dynasty (25 –
220 CE)
Amphora, 2nd-3rd century
black burnished earthenware with
bronze fittings
Gift of Smith Freeman, 2009.26.10

Amphoras like this one, known as lifan, are unique in the history of Chinese
ceramics, with forms and decoration distinct from other types of pottery. Very
few lifan amphoras like this one are on public display.

The name lifan derives from the district of Sichuan province, Lifan, where
archeologists discovered ceramics of this type.

The geometric forms may have been designed to recall metalware; the sixteen
studs decorating the surface show traces of a thin bronze overlay, which would
have shone brightly against the black surface of the vessel. The studs at the
center of the circular designs on the belly resemble eyes.

The practical, sturdy handles suggest that this amphora was used in everyday
life, perhaps as a pouring vessel for fine grains.
Ackland Art Museum
Art of China and Japan
21
Unidentified artist
Chinese, Yuezhou, Zhejiang province;
Eastern Jin dynasty (317 – 420 CE)
Chicken-head Ewer, 4th century
glazed stoneware, Deqing ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.1

This chicken-head ewer comes from the Deqing kilns, located in modern
Zhejiang province. Potters working at the Deqing kilns were the earliest to
develop brown and black glazed pottery.

The ewer is made of stoneware, which is a finer clay than earthenware.
Stoneware was valued because it is chip-resistant and watertight even without
glaze.

To achieve the deep brown color, potters used twice as much iron oxide as they
did when making green glazes. Glazes with so much iron oxide were notoriously
difficult to control, however, and many of the early examples are mottled and
streaked. This ewer’s glaze was applied very thickly to create its rich color and
lustrous surface.

The spout shaped like a rooster’s head derives from the ancient Chinese practice
of sealing a pledge by drinking wine mixed with rooster’s blood.
Ackland Art Museum
Art of China and Japan
22
Unidentified artist
Chinese, Tang dynasty (618 – 907 CE)
Jar
painted earthenware
Gift of Charles Millard in honor of Eunice
and Herbert Shatzman, 2002.27

This jar is a rare example of Tang dynasty ceramics that were painted but
unglazed; such vessels were also made during the first through third centuries,
in the late Han dynasty.

The foliate decoration on this jar may have been derived from the patterns of
Persian textiles. Many Persians fled to China after the fall of the Sasanian empire
(224 – 651 CE). Chinese art and culture in this time period often reflected the
influence of the many foreign peoples with whom the Chinese were in contact.
Ackland Art Museum
Art of China and Japan
23
Unidentified artist
Chinese, Tang dynasty (618 – 907 CE)
Tripod Vessel (Fu)
earthenware with three-color (sancai) lead
glaze
The William A. Whitaker Foundation Art
Fund, 90.38

The glaze on this vessel is called sancai, which means three color in Chinese.
Ceramics with sancai glaze were highly fashionable during the Tang dynasty
and used by elite families as funerary objects to emulate items used in their daily
lives.

The patterns in sancai glazes were inspired by the textiles of Central Asia, which
became popular in Chinese cities as the rulers of the Tang dynasty expanded
their empire westward and developed trade relationships with other countries.

The distinctive coloring results in part from the clay, which has a very low iron
content and turns white instead of red after firing. The iron oxide and copper
oxide in the glazes fire red and green, respectively. Potters splashed the two
glazes on the vessel knowing that they would run and blend to produce a range
of hues.
Ackland Art Museum
Art of China and Japan
24
Unidentified artist
Chinese, Changsha region, Hunan
province; late Tang dynasty (618 –
907 CE) or early Five Dynasties period
(907 – 960 CE)
Ewer with Bird Decoration, 10th century
stoneware with celadon-type glaze and
iron oxide decoration
Spain Purchase Fund, 96.6

This ewer was made in Hunan province, at the Changsha kilns, which were
famous for producing stoneware of this type. Changsha wares, with their coarse
clay and simple forms were made for everyday use by ordinary people.

The bird depicted on this ewer may be a red-billed leiothrix, which always flies
in pairs and takes one mate for life, symbolizing marital happiness.

Changsha potters were the first to decorate ceramics by painting directly on the
clay with iron oxide and covering the entire vessel with celadon glaze. The
painted scenes on vessels like this were intended to beautify an otherwise
inexpensive piece.

Changsha wares have been unearthed in Korea, Japan, Thailand, Sri Lanka, Iran,
and Egypt. Some of these ceramics have been painted with sayings in Arabic,
indicating that they were produced for export.
Ackland Art Museum
Art of China and Japan
25
Zhang Family
Chinese, Song dynasty (960 – 1279 CE)
Pillow, 12th century
stoneware, white and dark brown slip,
colorless glaze
Ackland Fund, 88.30

Ceramic pillows like this one were typically used for burial, though the living
sometimes slept on them as well.

A stamp on the bottom of this pillow reads: “Zhang family pillow.” It indicates
that the famous Zhang family of potters made it at an ancient Cizhou kiln site in
northern China’s Hebei province. The Zhang family worked there for over three
hundred years.

There was a tradition in Chinese ceramics of painting colored designs on
porcelain that had first been dipped in white slip (diluted clay). In this technique,
the artist draws with a brush as though he were working on paper, using just a
few quick brushstrokes to convey the spirit of the subject.

The crane design is associated with luck because it adorned the robes of officials
who had risen to high levels. The bamboo denotes both strength and luck
because it can bend without breaking.
Ackland Art Museum
Art of China and Japan
26
Unidentified artist
Chinese, Northern Song dynasty (960 –
1127 CE) or Jin (Golden Tartars) dynasty
(1115 – 1234 CE)
Ribbed Jar with Two Handles, 12th
century
glazed stoneware, Cizhou-type ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.10

This ribbed jar is a classic Cizhou type that was produced at various kilns in
Hebei and Henan provinces, based on evidence from archeological finds. The
term Cizhou applies to stoneware produced at kilns in these northern provinces
during this time period.

Although potters sometimes carved ribs into the moist clay surface, they usually
applied them onto the surface of the vessel in slip (clay thinned with water)
before applying the dark glaze. During firing the glaze pulled away from the
ribs, leaving them exposed and resulting in a striking contrast of delicate white
lines against a glossy black background.
Ackland Art Museum
Art of China and Japan
27
Unidentified artist
Chinese, Northern Song dynasty (960 –
1127 CE) or Southern Song dynasty (1127
– 1279 CE)
Pie (Conical) Tea Bowl with Hare’s-fur
Glaze, 12th or 13th century
glazed stoneware, Jian ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.17

Tea bowls like this were made by the Jian kilns and intended both for popular
consumption and for use in Buddhist monasteries. Tea drinking had become a
common practice to help the monks stay awake during meditation.

This shape developed from tea bowls that were popular in preceding centuries
when people drank tea mixed with other ingredients such as scallions, jujubes,
and ginger. The trumpet shaped mouth facilitated drinking the various solid
ingredients in the tea.

The glaze technique is called hare’s fur, characterized by streaks that ranged in
color from yellowish to russet to silver. Creating this effect relied on the
combination of an iron-rich clay, from which the bowl was made, with a glaze
possibly made of the same clay mixed with wood ash.

Potters glazed the bowls fully on the interior but only partially on the exterior,
and fired them right side up. As the glaze melted, gravity pulled it downward to
accumulate in a thick glassy pool in the bottom of the vessel’s interior, while on
the exterior a thick roll formed above the base, sometimes along with glassy
drips that stopped short of the base.
Ackland Art Museum
Art of China and Japan
28
Unidentified artist
Chinese, Northern Song dynasty (960 –
1127 CE) or Southern Song dynasty (1127
– 1279 CE)
Tea Bowl with Tortoiseshell Glaze, 12th
or 13th century
glazed stoneware, Jizhou ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.27

Jizhou wares were made at kilns in Jiangxi province, which was known as Jizhou
during the time this bowl was made.

The tortoiseshell glaze on this tea bowl was an innovation of the Southern Song
dynasty. Potters applied wood or bamboo ash on top of the glaze; during the
firing the ash melted into the dark glazes to yield varied effects like this.

Jizhou tortoiseshell bowls were admired for the way they brightened the light
color of the tea served in them.
Ackland Art Museum
Art of China and Japan
29
Unidentified artist
Chinese, Jin (Golden Tartars) dynasty
(1115 – 1234 CE)
Bowl with Decoration of Russet Stripes,
12th or 13th century
glazed stoneware, Cizhou-type ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.54

This bowl came from northern China during the period when the Jin controlled
the area. Vessels like this one, with streaked and russet patterns, were staples of
Jin dynasty wares.

The stripes were applied swiftly so that they vary in length, strength, and
spacing. There are seven strokes on the inside of the bowl and exactly three times
as many on the outside, but there is no rigid correlation between those in the
inside and those on the outside – it as though the numerical relationship
emerged by accident.
Ackland Art Museum
Art of China and Japan
30
Unidentified artist
Chinese, Southern Song dynasty (1127 –
1279 CE) or Yuan dynasty (1279 – 1368
CE)
Small Jar with Willow-basket
Decoration, 13th or 14th century
glazed stoneware, Ganzhou ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.46

Jars like this are often called Ganzhou ware, and they were made at kilns in the
Jizhou region. They were most popular in the Southern Song period but were
also made in the Yuan dynasty.

The globular shape, straight neck, and rolled lip are typical of this type of jar, as
are the russet glaze on the interior and lip and the unglazed exterior. The exterior
decoration was made with finely combed lines that suggest basket weave
patterns. The raised white dots that resemble a string of pearls were made with
white glaze.

This type of vessel is often called a rice measure, though the exact function is not
known.
Ackland Art Museum
Art of China and Japan
31
Unidentified artist
Chinese, Henan province; Northern Song
dynasty (960 – 1127 CE)
Tea Bowl and Stand, 11th century
glazed stoneware, Cizhou-type ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.2ab

As early as the Tang dynasty (618 – 907 CE), potters paired tea bowls with
stands, which allowed tea drinkers to hold a vessel filled with hot tea more
easily. It is rare, however, for a pair to have survived intact.

This tea bowl and stand were created at the Cizhou kilns in Henan province.
Made of stoneware, they are sturdier than fine porcelain ceramics. The reddishbrown color of the clay is visible along the rim of the cup and at the base of the
stand, where the glaze has pulled away.

The subtle, mottled silver pattern on the surface of these two objects was
probably caused by excess iron oxide in the glaze, which crystallized on the
surface during firing.
Ackland Art Museum
Art of China and Japan
32
Unidentified artist
Chinese, Southern Song dynasty (1127 –
1279 CE)
Stem Cup and Cup Stand
glazed porcelain, yingqing ware
Gift of Smith Freeman, 2009.26.2

The subtle blue undertone of the glaze on this stem cup and stand was intended
to mimic the color and texture of bluish-white jade. The term for this type of
object is qingbai, later called yingqing, which translates as shadow-blue.

To achieve this effect, potters added a small amount of ferrous oxide to the glaze
and then fired the ceramics in a reduction (oxygen-starved) atmosphere.

Qingbai wares were made at the Jingdezhen dragon kilns in southern China’s
Jiangxi province, so called because the long kilns snaked over hillsides like
dragons’ bodies. Large dragon kilns could fire nearly 10,000 vessels at one time.

To prevent the delicate walls of these vessels from warping during firing, they
were fired upside down in the kilns. This practice explains the slightly rough
quality of the cup’s rim.
Ackland Art Museum
Art of China and Japan
33
Unidentified artist
Chinese, Northern Song dynasty (960 –
1127 CE)
Conical Bowl, 11th – 12th century
glazed porcelaneous stoneware, yaozhou
ware
Gift of the Ackland Associates, 87.13

This bowl was made at the Yaozhou kilns in northern China, which operated for
over 800 years. They were particularly active in the eleventh and twelfth
centuries, when they were well known for producing celadon wares like this
bowl.

The leaf patterns on this bowl are delicate and sharp suggesting that they were
incised by hand. Later the Yaozhou kilns replaced labor intensive freehand
carving with the more economical method of applying design molds to the clay.

Yaozhou wares were a global commodity, traded with Korea and Japan, western
Asia, and the east coast of Africa. They included many different kinds of
utilitarian objects and over 200 different decorative motifs.

The celadon glaze on Yaozhou wares was applied so that it pooled and darkened
in the recesses of the design, heightening the effect of three-dimensional relief.
Ackland Art Museum
Art of China and Japan
34
Unidentified artist
Chinese, Zhejiiang province; Southern
Song dynasty (1127 – 1279 CE)
Small Dish, probably 13th century
porcelaneous stoneware with bluishgreen glaze, Longquan celadon ware
Gift of Lena J. Stewart, 91.167

The distinctive blue-green glaze of this dish identifies it as Longquan celadon, a
type of stoneware long prized for its curious capacity to make an opaque vessel
seem almost transparent. The celadon glaze was applied in several thick layers to
mimic the texture and color of good quality jade.

Located in eastern China’s Zhejiang province, the Longquan kilns produced
ceramics for over 1,600 years, longer than any other kiln complex in Chinese
history.

Longquan potters developed the signature celadon glaze, considered the height
of Chinese celadon achievement, during the twelfth and thirteenth centuries.

The term celadon is a European invention. Ceramics connoisseurs in Europe may
have derived it from seventeenth-century French pastoral comedy, whose hero
Celadon wore a similar color of green.
Ackland Art Museum
Art of China and Japan
35
Unidentified artist
Chinese, Yuan dynasty (1279 – 1368 CE)
Covered Box with Mouse Decoration,
c. 1300
porcelain, yingqing ware
Ackland Fund, 91.140ab

This covered box was probably made in the early years of the Yuan dynasty,
when Kublai Khan united all of China under Mongol rule. Khan chose to
establish the Yuan imperial kiln at the Jingdezhen porcelain center, which long
had been famous for its bluish-white (yingqing) wares.

Yingqing vessels, with their subtle blue undertones, were the precursors to the
coveted blue and white wares of the Ming dynasty. They were made from kaolin
clay combined with petuntse, a variety of feldspar, and covered with a
translucent blue glaze.

The mouse on top of this box may refer to the first of the twelve animal signs of
the Chinese zodiac, the mouse or rat.
Ackland Art Museum
Art of China and Japan
36
Unidentified artist
Chinese, Qing dynasty (1644 – 1911 CE),
Yongzheng reign (1723 – 1735 CE)
Stem Cup
porcelain with incised decoration under
yellow glaze
Gift of Eunice and Herbert Shatzman in
honor of Sherman Lee, 97.27

Inside the stem of this cup is a blue reign mark that reads: “made during the
Yongzheng reign of the Great Qing Dynasty.” Emperor Yongzheng ruled from
1723 to 1735, during which time he avidly supported imperial ceramics, even
funneling surplus government funds to the kilns.

During the Qing dynasty, the variety and quality of monochrome glazes greatly
increased. This stem cup was clearly made for imperial use, as yellow was the
royal color of the Qing dynasty.

The incised decoration depicts stylized lotus flowers, which in Buddhism
symbolize purity and the expansion of the soul. This was a fitting choice because
the royal family was Buddhist.

This porcelain cup is displayed upside down so that it is possible to view both
the reign mark and the delicate incised decoration on the vessel’s surface.
Ackland Art Museum
Art of China and Japan
37
Unidentified artist
Chinese, Qing dynasty (1644 – 1911 CE),
Kangxi reign (1662 – 1722 CE)
Bottle-shaped Vase, c. 1700
porcelain with underglaze decoration in
cobalt blue
Gift of Herbert and Eunice Shatzman in
honor of Ruth and Sherman Lee, 99.22.1

Demand for blue and white porcelain was immense both in China and abroad.
Judging by the motif near the bottom of this vase, however, it was likely
intended for Chinese patrons. The motif is a stylized depiction of a treasure vase,
which symbolizes long life and wealth. It is one of what are called the Eight
Auspicious Objects of Buddhism.

Though the Chinese had been making some form of blue and white pottery for
centuries, vessels made during the reign of Emperor Kangxi in the Qing dynasty
were particular prized for their rich, sapphire-blue hues.

The cobalt used to make the blue underglaze was imported from Iran. Contact
with Islamic regions might account for some of the stylistic characteristics of the
decorations. Some of the forms in the frieze on the vase’s shoulder resemble
inverted ogee arches.
Ackland Art Museum
Art of China and Japan
38
Unidentified artist
Chinese, Ming dynasty (1368 – 1644 CE),
Xuande reign (1426 – 1435 CE)
Dish
porcelain with red glaze
Gift of Herbert and Eunice Shatzman in
honor of Ruth and Sherman Lee, 98.26

This red monochrome glazed porcelain dish is a rare example of the rich copper
red glaze made during the Ming dynasty. Only a few dozen known red vessels
like it survive in the world.

The red color came from adding colloidal copper particles to transparent glaze. It
was notoriously difficult to produce successful red-glazed wares – too little
copper in the glaze left it colorless, but too much resulted in a mottled, muddy
brown color. Thus, evenly-colored vessels like this one were highly prized.

The white lip around the edge is the result of the size and weight of the copper
particles: when the glaze boiled in the kiln, the particles slid down, leaving no
pigment on the highest point in the dish.

The blue reign mark on the back of the dish dates it to the reign of the Xuande
emperor, which began in 1426. During his tenure, the Court of Imperial
Entertainments employed thousands of chefs, and the ceramics most often
produced were vessels for food and drink: bowls, plates, cups, and dishes.
Ackland Art Museum
Art of China and Japan
39
Unidentified artist
Chinese, Qing dynasty (1644 – 1911 CE),
Kangxi reign (1661 – 1722 CE)
Plate, c. 1700
porcelain with multi-colored glaze
Gift of Herbert and Eunice Shatzman in
honor of Ruth and Sherman Lee, 99.22.2

There were many trends in porcelain decoration during the Kangxi reign. They
included: famille rose (mainly pink decoration), tou-ts’ai (contrasting color
decoration), wu-ts’ai (underglaze blue with multi-color decoration), and famille
verte (mainly green decoration). This plate can be classified as famille verte.

The motifs decorating this plate are all symbols of wisdom and luxury, including
exotic birds and animals, plants in ornate pots and stands, and books tied in
ribbon.
Ackland Art Museum
Art of China and Japan
40
Unidentified artist
Chinese, Tang dynasty (618 – 907 CE)
Bodhisattva, 7th century
limestone
The William A. Whitaker Foundation Art
Fund, 97.17

Bodhisattvas are usually depicted adorned with jewels and lavish drapery unlike
the Buddha, who is shown without personal adornment.

This bodhisattva shows the impact of Indian art on Chinese sculpture with its
sinuous posture, gracefully curving drapery folds, and long strands of jewels. It
is a classic example of Tang dynasty Buddhist sculpture.

There was a major persecution of Buddhism in China in the ninth century
because it had originated outside China, and many Buddhist sculptures were
damaged or destroyed.
Ackland Art Museum
Art of China and Japan
41
Unidentified artist
Chinese, Northern Qi dynasty (550 –
577 CE)
Head of a Bodhisattva
limestone
Ackland Fund, 91.65

This figure’s flowering crown with ribbons hanging from each side is typical of
Chinese bodhisattva images from the second half of the sixth century.

Bodhisattvas are enlightened beings who, out of compassion, forgo nirvana
(release from earthly existence) in order to help others reach enlightenment.

This figure may represent Avalokiteshvara, the bodhisattva of compassion, who
was revered in China under the name of Guanyin. In the period when it was
made, elaborately adorned figural sculptures like this one coincided with a
growing devotion to Avalokiteshvara.
Ackland Art Museum
Art of China and Japan
42
Unidentified artist
Chinese, Yuan dynasty (1279 – 1368 CE)
Monumental Head of a Lohan,
14th century
wood, cloth fragments
Gift of the Tyche Foundation, 2010.30

Lohan is the Chinese term for the Sanskrit word arhat, which in Buddhism
indicates someone who has put an end to all desires and attained spiritual
enlightenment. Lohans are considered peaceful guardians and are often included
in temples either in sculpture or painted form.

This lohan from the fourteenth century has a prominent forehead, furrowed
brow, and intense gaze, emphasizing his monklike austerity, concentration, and
religious commitment. These features also suggest the openness to foreign
artistic influences under Mongol rule in the Yuan dynasty.

At the beginning of the Yuan dynasty, Kublai Khan reunited all of China under
Mongol rule, incorporating it into an empire that extended westward as far as
modern Hungary and Poland. This brought Chinese artists in contact with a
variety of artistic influences.
Ackland Art Museum
Art of China and Japan
43
Unidentified artist
Chinese, Ming dynasty (1368 – 1644 CE)
Zhenwu
glazed ceramic, Cizhou ware
Gift of Susan and Robert Otterbourg,
2007.20.3

Zhenwu, one of the most important deities in Daoism, appears in human form
accompanied by a tortoise and snake. This imagery developed from an earlier
emblem that consisted of a tortoise entwined with a snake without a human
figure.

Zhenwu is recognizable by his long, unbound hair and bare feet, as well as by
the armor beneath his robes. The armor underscores his role as a martial god,
while the long hair and bare feet refer to a long spiritual retreat he made to
Mount Wudang in Hubei.

He eventually became known as a protector of the state and imperial family.
Imperial sponsorship of Zhenwu reached its peak during the Ming dynasty; the
third Ming emperor credited Zhenwu with helping him seize the throne.

Small statues like this one, made for personal worship, were common in the
Ming dynasty. They were usually made from porcelain, although sometimes also
from more costly materials like bronze and gold.
Ackland Art Museum
Art of China and Japan
44
Unidentified artist
Chinese, Yuan dynasty (1279 – 1368 CE)
or Ming dynasty (1368 – 1644 CE)
Head of Guanyin, Bodhisattva of Mercy
gilded and painted cast iron
Ackland Fund, 88.29

Devotion to Guanyin, Bodhisattva of Mercy, developed in China during the third
through sixth centuries. Traditionally Guanyin was depicted as a man in Chinese
art, but during the Song dynasty (960 – 1279 CE), the bodhisattva was
reimagined as a female.

The curls, continuous eyebrow, elongated ears, and the curve of the eyelids are
typical of the Ming dynasty representations of Guanyin, but the head and crown
resemble the style of earlier periods.

The elaborate crown was cast separately from the rest of the head. It is adorned
with stylized lotus blossoms, which are usually also held in the hand of Guanyin.
The small seated figure at the top of the crown is Amitabha, the Buddha of the
Western Paradise and central figure of a form of Buddhist practice known as
Pure Land Buddhism.
Ackland Art Museum
Art of China and Japan
45
Unidentified artist
Chinese, Five Dynasties period (907 –
960 CE)
Seated Bodhisattva with Peony Scrolled
Mandorla, 10th century
bronze with traces of red (cinnabar)
pigment
Gift of Clara T. and Gilbert J. Yager and
Ackland Fund, 92.22

This bodhisattva sits on a lotus blossom. His left hand holds a bowl and his right
hand forms the “fear not” mudra, or gesture. He originally wore a crown (it is
now missing), and he wears a necklace, standard iconography identifying him as
a bodhisattva and not a buddha.

The open lotus blossom above the bodhisattva’s head symbolizes the
compassionate nature of the Buddha. The large double halo is surrounded with
ornate floral lattice work represents the flames of Buddhist knowledge.

He wears several layers of loose drapery, belted and knotted high on the torso.
The drapery, which covers the figure’s body, is typical of tenth-century northern
Chinese bodhisattvas. At this time, Chinese sculptors relied less on Indian
influences in making Buddhist images and relied more on Chinese ideas.
Ackland Art Museum
Art of China and Japan
46
Unidentified artist
Chinese, Late Tang dynasty (618 –
907 CE) or Five dynasties period (907 –
960 CE); or Yuan dynasty (1279 –
1368 CE)
Demon, 10th or 14th century
gilt bronze
Ackland Fund, 92.25

As the information on this object’s label suggests, the Ackland is not certain
when this Buddhist image of a demon was made or specifically what it
represents.

If it is from the tenth century, it may have been made in the later Tang dynasty or
the period known as the Five dynasties period. Beginning in the early part of the
Tang dynasty, many artists revived stylistic features of earlier periods. This
demon’s broad face and plump body are examples of that revival.

It is possible that the figure was part of an altar group. It could be an attendant or
guardian of the deity Chung Kuei, called the Demon Queller.
Ackland Art Museum
Art of China and Japan
47
Unidentified artist
Japanese, Kamakura period (1185 –
1333 CE)
Bishamonten, c. 1300
painted wood with additions in metal
and crystal
The William A. Whitaker Foundation Art
Fund, Purchased in memory of
Chancellor Michael K. Hooker, 2000.7

The four guardian kings protect the four quarters of the cosmos and their images,
trampling on vanquished demons, may be stationed at the four corners of an
altar with a sculpture of the Buddha in the middle.

Bishamonten is the Japanese name for the king of the north, the chief of the four
guardians. He is also considered the protector of warriors and the state.

The inlaid crystal eyes and flaming halo enhance his fierce expression. His
dynamic posture and swirling draperies seem to contain reserves of stored
energy.

Bishamonten carries a stupa, a symbol of the Buddhist faith in his left hand and
in his right hand, he originally carried a lance (which is now missing).
Ackland Art Museum
Art of China and Japan
48
Unidentified artist
Japanese, Late Heian period (898 –
1185 CE)
Standing Buddha, c. 12th century
wood
Gift of Ruth and Sherman Lee, 2003.35.4

Originally, this standing Buddha was attached to a wooden panel, which may
have been a large round or oval mandorla.

The artist uses the drapery’s curving, nearly parallel lines to define the figure’s
torso and each limb, so that the clothing seems to cling to his body.

Judging by the placement of the figure’s left arm, his original left hand was in the
boon-granting gesture (or mudra) and the missing right hand in the “fear not”
mudra.
Ackland Art Museum
Art of China and Japan
68
Unidentified Artist
Japanese, Momoyama period (15731615)
Handled Bucket, n.d.
black lacquer with maki-e (sprinkled
gold)
Lent from a North Carolina Private
Collection, L2003.059.0012a-c

This mizusashi (water bucket) would have been used both to serve and store
water, hence the removable lid.

The decoration of the mizusashi hints at its function: it is covered with stylized
aquatic waves and floating log rafts, as well as cherry blossoms (a traditional
symbol of Spring).

When empty, water would be replenished using a different vessel. While this
mizusashi has a handle, it was not meant to be carried long distances; rather, this
handle was meant to facilitate indoor transport.
Ackland Art Museum
Art of China and Japan
69
Unidentified Artist
Japanese, Edo period (1615-1868)
Inkstone Box (suzuribako), n.d.
lacquer with nashiji (pear-skin ground)
and maki-e (sprinkled gold)
Lent from a North Carolina Private
Collection, L2003.059.0014a-e

This suzuribako was made through the application of successive layers of
lacquer (black followed by clear), gold inlay, and gold flake on a carved wooden
base, which must be been allowed to dry completely before being lacquered; any
moisture left in the wood could cause it to warp over time, thus cracking the
lacquer. For many pieces, this entire process took several years.

The small silver item decorated with a bird and flower motif is a water dropper,
used to moisten the inkstone. It is filled via the large visible opening on top,
while a tiny hold on the dropper’s edge would permit the calligrapher to apply
just the right amount of water to the stone, which would then be rubbed with an
ink stick (missing here).

The object to the left of the stone is a brush holder. Traditionally, suzuribako
contain multiple brushes, usually three or more.
Ackland Art Museum
Art of China and Japan
70
Unidentified Artist
Japanese, Edo period (1615-1868)
Mirror Box (kagamibako), n.d.
lacquer with maki-e (sprinkled gold)
Gift from the Stephen White Collection
of Japanese art, L2003.059.0005ab

The designs on this kagamibako are kamon, Japanese family crests. This design,
eight arrow fletches arranged within a circle, represents the Inoue clan of
Shinano (present-day Nagano).

This box was most likely part of a trousseau, a large and splendid wedding set
traditionally ordered by powerful warlords for their daughters in anticipation of
their weddings.

Depending on the wealth and rank of the daimyo (warlord), some trousseaux
contained nearly 400 objects, ranging from personal items like combs, mirror
stands, and teeth-blackening sets, to elaborate paintings, textiles, and scrolls
commissioned as part of a dowry.
Ackland Art Museum
Art of China and Japan
71
Unidentified Artist
Japanese
Stacked Food Boxes in Handled
Holder, n.d.
lacquer
Lent from a North Carolina Private
Collection, L2003.059.0011a-f

These stacked boxes are known as jubako bento and were used primarily for
picnics and parties, both indoors and out. Such scenes are a commonplace in
prints of the period, especially scenes of the viewing of cherry blossoms or
fireworks.

The term “bento” is taken from antiquated Chinese slang (biandang) and means
“convenient,” a reference to the ease with which the boxes can be organized,
stacked, and transported.

The inlaid shells on this bento are each decorated with various scenes of daily
life, such as a garden wall or a boat. More than an artistic flourish, these shells
reference the actual Japanese tradition of the kai-awase, or the shell-matching
game, similar to the modern American game of “Memory,” a popular activity at
parties.
Ackland Art Museum
Art of China and Japan
72
Unidentified Artist
Japanese, Edo period (1615-1868)
Small Tea Holder, n.d.
lacquer
Lent from a North Carolina Private
Collection, L2003.059.0018ab

In Japanese, these tea caddies are known as natsume, a term that also means a
jujube or a date, a reference to the fruit-like shape of the vessel. This style of
vessel was originally developed in the fifteenth century. These original caddies
were exclusively black lacquer with no inlaid decoration.

Japanese art, tree peonies (botan) are symbols of beauty, erudition, and wealth,
as the plant is not native to Japan and was imported sometime in the eighth
century by Buddhist monks.

While at first glance the continuation of the peony from the lid to the base may
appear as mere artistic effect, this motif also helps the user to close the natsume
in the exact same manner each time, ensuring a tighter seal – very important
considering the expense of high-quality matcha, a powdered green tea that is
extremely bright in color.
Ackland Art Museum
Art of China and Japan
73, 74
Unidentified Artist
Japanese, Edo period (1615-1868)
Three-Sectioned Octagonal Box
Container, n.d.
lacquer
Lent from a North Carolina Private
Collection, L2003.059.0019.01a-c (left)
and .02a-c (right)

These boxes were part of a large wedding trousseau, commissioned by a daimyo
(warlord) for the wedding of his daughter.

These boxes bear the kamon (family crests) of the Tsugaru clan, a family that
ruled the northern tip of Japan’s main island. The Tsugaru rose to power ca. 1600
and reigned throughout the Edo period. These crests are superimposed over a
trellis of bamboo and stylized bamboo leaves, which could represent another asyet unidentified kamon (possibly that of the groom). There are also plum
blossoms, possibly indicating a winter wedding.

Made for a kai-awase (shell-matching game), each of these boxes would contain
180 clamshell halves, each painted with a different scene or design on their
interior. The sets would be split evenly between the two boxes. This was meant
as a metaphor for marital union.

Kai-awase boxes can usually be identified by their octagonal shape and holes in
the feet. These holes were originally threaded with silk cord which was then
used to secure the lids, ensuring the many shells would not be lost.
Ackland Art Museum
Art of China and Japan
75
Unidentified Artist
Japanese, Edo period (1615-1868)
Covered Pouring Vessel with Handle,
n.d.
black lacquer with maki-e (sprinkled
gold) and red interior
Lent from a North Carolina Private
Collection, L2003.059.0013ab

The interior of this pouring vessel is executed in negoro, or red lacquer, a
mixture of vermilion and clear lacquer. The name negoro derives from the
Negoro Temple complex in Wakayama, where this technique was invented by
monks.

Beneath the red is a layer of black lacquer so that as the vessel is used, areas of
red will wear away revealing the black beneath, thereby emphasizing the age
(and enhancing the beauty) of the piece.

While kamon (family crests) were employed in early periods both officially and
as mere decoration, by the Edo period (1603–1868), their use was highly
regulated. This crest, three hollyhock leaves arranged in a circle, represents the
ruling Tokugawa clan, a line founded in 1600 which continues to this day. The
Tokugawa were the dominant warlords during the Edo period, which is also
referred to as the Tokugawa Period.

The process through which lacquer, a poisonous tree sap, cures is called
aquapolymerization, a lengthy process in which lacquered objects are slowly
dried in a specialized humidor to ensure the layers dry evenly and completely.
The result is a non-porous and durable surface, ideally suited for foods and
liquids.
Ackland Art Museum
Art of China and Japan
76
Unidentified Artist
Japanese, Edo period (1615-1868)
Small Rectangular Box, n.d.
black lacquer with maki-e (sprinkled
gold) and hira maki-e (level sprinkled
gold)
Lent from a North Carolina Private
Collection, L2003.059.0020ab

The sides of this box reveal the complexity and difficulties involved in the
production of lacquerware: in order to maintain such light and thin walls,
especially beneath the lid, the wood beneath the multiple layers of lacquer was
carved extremely thin — in especially fine works, light could be observed
through the unvarnished wood.

Such a thin wooden based necessitated a lengthy drying process to guard against
warping. As a result, the process — felling a tree, drying and carving a wooden
base, applying many coats of lacquer and decorative elements, several stages of
aquapolymerization, careful and progressive sanding, and finally polishing —
could take up to seven years in total.

The process of aquapolymerization is crucial not only to create a non-porous seal
but also to render the lacquer itself inert. It is derived from the toxic sap of the
lacquer tree, which if not properly dried and cured, can cause painful skin
rashes; even the vapor is highly toxic. Indeed, the scientific name for lacquer tree,
also known as “Japanese sumac,” is Toxicodendron vernicifluum. Over time and
through exposure, lacquer artisans developed a resistance to these effects.

Inlaid metals of varying purities were used in the floral design on the lid in order
to impart volume and shade to the petals and leaves. The stamen of the
Chrysanthemum (a traditional symbol of the Imperial House as well as a
common decorative theme) is rendered using tiny, highly polished pieces of
gold, making it sparkle against the other inlaid elements.
Ackland Art Museum
Art of China and Japan
77
Unidentified Artist
Japanese
Round Plate, n.d.
lacquer
Lent from a North Carolina Private
Collection, L2003.059.0021

The mixture of elegant floral motifs on this plate — these plants bloom in
different seasons — is emblematic of designs of the later Edo and early Meiji
(1868-1912) periods, as lacquer design grew increasingly elaborate and delicate.
By the middle of the Meiji era, more self-consciously “rustic” designs became
popular.

Another characteristic of Meiji-era art more generally is the increased emphasis
on naturalism, reflecting the influence of Western-style art and science. For
example, the manner in which the underside of the petals of the Chrysanthemum
are revealed shows this modern dedication to realism.

The reverse of this plate bears a mark reading “Zohiko,” a company of Kyotobased lacquer designers that originated in 1661, and is still in operation to this
day. It is quite possible that this plate was made for export, as Zohiko
increasingly relied on the international market. Indeed, Zohiko lacquerwares
were exhibited at the World’s Columbian Exhibition in Chicago in 1893, as
examples of both Japanese art and industry.
Ackland Art Museum
Art of China and Japan
78
Unidentified artist
Chinese
Tea Bowl with Leaf Design, 12th or
13th century
glazed stoneware, Jizhou ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.44

Initially, Jizhou wares were white with light blue elements but by the advent of
the Southern Song Dynasty (1127–1279) they were principally black or chocolate
brown. This bowl represents a transition between these two styles.

The dark glaze of Jizhou wares is derived from a mix of iron oxide and wood
ash. This glaze is especially sensitive to temperature (owing to high levels of
magnesium) and other variations in the firing process, resulting in many
different tones and lusters.

It is not certain exactly how Jizhou potters produced the leaf decorations on
bowls such as these. The leaf was definitely applied while the black glaze was
still wet but scholars remain divided on whether the leaf was freshly cut, “prerotted” (semi-dried), or even dipped in a glaze itself.

The combination of the thinner black glaze and the oxides in the leaf’s ash — it
would burn away during the firing process — create the outline seen here.
Ackland Art Museum
Art of China and Japan
79
Unidentified artist
Chinese, Northern China
Oil Lamp with Oil-Spot Glaze, 12th
century
glazed stoneware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.50

The “oil spot” effect visible in this vessel’s glaze originated in Jian in Fujian
Province in southern China, a hub for Chinese black porcelains as early as the
tenth century, but was later copied by kilns in the north, especially during the
Song Dynasty (960–1279).

Jian wares are principally tea bowls and very simple forms, so an oil lamp such
as this was made later in a northern kiln, probably during the later Northern
Song Dynasty (960–1127).

The oil spot effect was discovered by accident: while trying to make a streaky
glaze called “hare’s fur”, the temperature of the kilns occasionally fell too low to
liquefy fully the iron-rich spots. As a result, they did not drip by rather
crystallized as small spots of magnetite, giving the silvery, reflective surface
visible here.
Ackland Art Museum
Art of China and Japan
80
Unidentified artist
Chinese
Bowl with Russet Hare’s-Fur
Markings, 12th or early 13th century
glazed stoneware, Jian ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.17

Tea bowls in this style are known as “tenmoku,” the Japanese name for the
Chinese temple tianmu, where these bowls were used for tea.

Bowls like this became extremely popular during the Song Dynasty and many
were exported to Japan, where they became prized possession for use during the
traditional Japanese tea ceremony. To this day, some of the finest examples are in
Japanese collections.

The “hare’s fur” glaze effect is highly variable and is dependent upon on the
relative amounts of feldspar, limestone, and iron oxide in the glaze, which is
thought to have been made from a mix of clay and wood ash. In addition, the
temperature of the kiln and the rapidity of cooling can produce many different
effects.
Ackland Art Museum
Art of China and Japan
81
Hyoe Imai
Japanese, born 1951
Kokuto, 2015
stoneware
Carol and Jeffrey Horvitz Collection,
L2015.34.1

Many of Hyoe Imai’s works feature black glaze, the color of which is achieved
through a mixture of iron and stoneware slip.

Stoneware, unlike porcelain, is made from a clay that is less pure than kaolin,
due to the presence of minerals such as carbon and iron, resulting in a more
opaque, darker appearance. Stoneware pieces are usually shades of brown or
grey.
Ackland Art Museum
Art of China and Japan
83,82
Unidentified artist
Chinese, Southern China
Bottle with Russet Glaze, 12th or 13th
century
glazed stoneware, possibly Jian ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.26
Unidentified artist
Chinese, Northern China
Ribbed Jar, 12th or 13th century
glazed stoneware, Cizhou-type ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.12

Both of these small vessels are examples of russet iron-glazed stoneware but the
differences in form, luster, and coloration show how variations in clay
composition, formulation of glazes, and in firing temperature can yield very
different results.

The bottle is likely from Fujian Province in Southern China, while the jar was
probably made in Hebei province in northern China (near current-day Beijing).
The clay in the north of China is naturally “non-vitrifying,” meaning that it
becomes less liquid during the firing process; this allows vessels to better hold
their forms and results in thinner walls and often more delicate shapes, such as
the small handles.

Northern Chinese loessic soil (a kind of sediment not found in the south) is
relatively high in magnesium oxide, a mineral very sensitive to heat. Depending
on the firing temperature and thickness of application, the glaze could vary
greatly in color and luster. If fired below 1260°C magnesium oxide is matte, often
with shades of green or yellow. If fired above 1260°C, it would yield the glossier
and richer tones seen here.
Ackland Art Museum
Art of China and Japan
84
Unidentified artist
Chinese
Jar with Vertical Ribs, 12th or 13th
century
glazed stoneware, Cizhou-type ware
Gift of F. Eunice and Herbert F.
Shatzman, 2003.28.13

Wares such as this bowl were popular during the Great Jin Dynasty (1115–1234)
and were made in great number in Hebei and Shandong Provinces, both near
modern-day Beijing.

The glaze used here contains approximately 6% iron oxide, or rust. As a result,
when applied more thinly, the resultant effect is a translucent amber color; when
applied in a thick layer, however, the glaze turns a rich black with a very high
gloss. The thickness of the glaze is evident in the dripping forms at the base of
the jar.

The vertical white decorations on this vessel were made through the application
of white ceramic slip, a suspension of kaolin clay and water. The body of the
vessel, also made from kaolin, and the glaze, which contains a different kind of
soil — a sediment known as loess — are both native to northern China.
Ackland Art Museum
Art of China and Japan
85
Munefusa Myochin
Japanese, 1732 – 1806
Mask (E-mi somen), late 18th century
russet iron with traces of black lacquer
Gift of the Tyche Foundation, 2010.25

Japanese armor encompasses many different kinds face masks. Some, like this
example, cover the entire face, while others might only cover the top half.

The Myochin were the most dominant school of armor makers from the
fourteenth century until the nineteenth century, when samurai armor fell out of
fashion.

This face mask is composed of separate iron pieces that were hammered into
shape. It was then lacquered to protect against weather, though very few masks
like these were actually worn on the battlefield. Originally, a neck guard and
helmet would also have been attached with cord. They were often adorned with
decorative elements, most commonly with moustaches made of horsehair.
Ackland Art Museum
Art of China and Japan
86
Jun Takegoshi
Japanese, born 1948
Platter, 2015
ceramic
Carol and Jeffrey Horvitz Collection,
L2015.34.7

Jun Takegoshi is the son of Taizan Takegoshi III, one of the modern masters of
Kutani ware, a form of Japanese porcelain that has existed since the midseventeenth century. Kutani wares are known for their bold colors and designs,
which usually cover them entirely.

Takegoshi’s forms are usually composed of flat planes and sharp angles, owing
to his use of a technique that involves pounding clay into thin sheets before
cutting it with wire. It is then pieced together, resulting in the geometric form
seen here.

This plate is decorated with overglaze enamels, which are applied after the body
has been fired at a very high temperature. Once applied (usually the form of
powdered pigment mixed with water or glue), the vessel is then fired again at a
lower temperature, fusing the pigments to the surface.
Ackland Art Museum
Art of China and Japan
87
Unidentified artist
Chinese
Dish, c. 1710-30
porcelain with blue, iron red, and gold
underglaze
Gift of Richard D. Pardue, 2015.13.5

This plate features a combination of underglaze and overglaze decoration. The
cobalt blue, which has seeped into the actual clay, was applied before the initial
high-temperature firing, whereas the red and the gold were applied before the
second low-temperature firing.

As a result of the high-temperature firing, the vitreous Chinese kaolin becomes
non-porous and almost glass-like, so the overglaze decorations do not penetrate
the actual clay, permitting artists a greater degree of control in the finished
design.

While “bird and flower” themes originated in China, they were also extremely
popular in Japan. This dish is a Chinese imitation of Imari ware, named after the
port in southern Japan where it originated. Imari ware was exported in great
numbers to Europe (via Dutch traders); during the Qing Dynasty (1644–1912)
Chinese kilns replicated it for the European market.
Ackland Art Museum
Art of China and Japan
88
Unidentified artist
Chinese
Plate, c. 1723-35
porcelain plate with embossed and
polychrome decorations
Gift of Richard D. Pardue, 2015.13.7

This plate, likely made during the reign of the Qing Emperor Yonghzeng, ca.
1723–1735, features overglaze enamels, which have been applied after the first
high-temperature firing. Prior to the initial firing, the plate was decorated with
embossed decorations of plants.

While the embossed decoration and initial firing were executed in China, the
overglaze enamels of the bird on the flowering branch were not added until the
plate reached its final destination, the Netherlands, where Dutch artists copied
Qing dynasty examples, with varying degrees of success. The plate would then
have been fired again, though at a lower temperature.
Ackland Art Museum
Art of China and Japan
89
Unidentified artist
Chinese, probably Yuan dynasty (1279 –
1368 CE)
Ewer with Cover
ceramic
Gift of Lena J. Stewart, 2000.4.2ab

This lidded vessel is made to resemble a tiny teapot but is most likely a water
dropper, which was used to wet inkstones for writing.

The decorations on the sides were made by pressing the clay into a mold.

There are small specks and imperfections in vessel’s surface. The handle and the
tip of the spout are later replacements. Originally, they, too, would have been
glazed and, if one looks closely, it is apparent that they are made from a whiter
and more finely grained clay than the unglazed portion visible on the bottom.
Ackland Art Museum
Art of China and Japan
90
Suzuki Osamu
Japanese, 1926 – 2001
Tea Bowl, 1985-90
porcelain with celadon glaze
Lent by the Carol and Jeffrey Horvitz
Collection, L2014.21.2

Osamu Suzuki, a native of Kyoto Japan and the son of a pottery wheel worker,
was one of the most important potters of post-War Japan and a founder of
“Sodeisha,” a group of avant-garde ceramicists formed in 1948. Sodeisha literally
translates to “Crawling through Mud Association.”

Suzuki principally worked in two colors: a red colored porcelain slip and this
light blue color, derived from Chinese wares.

This piece is somewhat atypical of his output. The Sodeisha potters usually made
vessels that lacked any utilitarian function, challenging traditional conventions
of Japanese ceramics. With this piece, however, Suzuki reflects on his upbringing
around the kilns of Kyoto, where objects for the tea ceremony, such as this bowl,
were often made.
Ackland Art Museum
Art of China and Japan
91
Tsubusa Kato
Japanese, born 1962
Untitled, 2015
ceramic
Carol and Jeffrey Horvitz Collection,
L2015.34.2

Tsubusa Kato is primarily known for his pure white vessels, the clay for which
he imports from New Zealand due to the purity of its color and for its
“stickiness,” which enables dramatic variation in thickness, as can be seen here.

The even color of both his glaze and the New Zealand kaolin clay is striking.
Thanks to industrialized processes and kilns, Kato is able to achieve colors and
thicknesses that would have been unimaginable to earlier potters.

Despite its apparent modernity, this piece still uses many of the same techniques
and glazes employed during the Song Dynasty (960–1279) in China. The way
Kato has allowed the blue glaze to pool in various areas in order to highlight the
subtle shapes of the clay, for example, is almost identical to earlier Song and
Yuan Dynasty techniques that brought incised decoration into higher relief.
Ackland Art Museum
Art of China and Japan
92
Unidentified artist
Chinese, Yuan dynasty (1279 – 1368 CE)
Bowl
Ying Qing ware, porcelain
Gift of Dr. and Mrs. Henry T. Clark, Jr.,
90.124

This bowl, with its subtle, incised decoration, is more typical of bluish-white
wares from the Yuan dynasty. Yuan Dynasty designs tend to be more loosely
“sketched” than the comparatively ornate floral motifs of earlier Song Dynasty
wares.

Yuan bluish-white wares were also popular outside of China and were exported
in great numbers to Japan and Southeast Asia.
Ackland Art Museum
Art of China and Japan
93,94
Unidentified artist
Chinese, Song dynasty (960 – 1279 CE)
A Pair of 'Yingqing' Glazed Porcelain
Funerary Jars and Covers
porcelain jars and covers
Gift of Smith Freeman, 2009.26.9.1 (left)
& 2009.26.9.2 (right)

Song Dynasty ceramics of this light bluish-green color are known as yingqing
(“shadow green”) or qingbai (“greenish white”) wares. They were mostly
produced at Jingdezhen, beginning in the tenth century. Given the refined glaze,
molded decoration, and whiteness of the clay, these were likely made in the 12th
or early 13th centuries.

Funerary urns like these can be found in tombs of this period and later. Always
made in pairs, they would have originally been filled with grain, likely rice, to
provide sustenance to the departed.

These two examples feature rows of mourners in courtly dress and several
animals, including two birds, a dragon, a turtle, and a domestic dog. On these
funerary urns, domesticated animals and livestock were often added to provide
companionship in the afterlife.
Ackland Art Museum
Art of China and Japan