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Lot Essay
During the reigns of the Yongzheng and Qianlong Emperors there was significant experimentation at the imperial kilns to increase the range of fine monochrome wares. Subsequently, during the early- to mid- 18th century, the number of different monochrome glazes produced at Jingdezhen expanded considerably. The aim was not only to produce attractive colors, but also to achieve interesting textures.
Cha ye mo, or ‘teadust’ glaze, was used as early as the Tang dynasty on ewers and small cups produced at the Yaozhou kilns. However, it was not until the early 18th century, during the reign of the Yongzheng Emperor, that the glaze was used on a wide scale. Because of the matte texture and subdued color of the teadust glaze, it was favored for use on ceramic vessels whose shapes were based on bronze prototypes.
Teadust-glazed vases of this shape and size, also with Qianlong incised seal marks, have been published by R. Kerr, Chinese Ceramics, Porcelain of the Qing Dynasty 1644-1911, London, 1986, fig. 25; and by R. Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, no. 936. See, also, the example sold at Christie’s Hong Kong, 1 December 2009, lot 1909, and the example sold at Christie’s New York, 17 March 2017, lot 1245.
Cha ye mo, or ‘teadust’ glaze, was used as early as the Tang dynasty on ewers and small cups produced at the Yaozhou kilns. However, it was not until the early 18th century, during the reign of the Yongzheng Emperor, that the glaze was used on a wide scale. Because of the matte texture and subdued color of the teadust glaze, it was favored for use on ceramic vessels whose shapes were based on bronze prototypes.
Teadust-glazed vases of this shape and size, also with Qianlong incised seal marks, have been published by R. Kerr, Chinese Ceramics, Porcelain of the Qing Dynasty 1644-1911, London, 1986, fig. 25; and by R. Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, no. 936. See, also, the example sold at Christie’s Hong Kong, 1 December 2009, lot 1909, and the example sold at Christie’s New York, 17 March 2017, lot 1245.