Inhaltsangabe: :: Library Catalog

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Bibliographische Detailangaben
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Format:	Recurso digital
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Veröffentlicht:	Zenodo 2025
Online-Zugang:	https://doi.org/10.5281/zenodo.16789541
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<h3>Abstract (EN):</h3> This study presents the attribution and detailed analysis of a rare double-gourd form Qingbai ewer with iron-spot decoration, produced during the Yuan dynasty (1279–1368) at the Jingdezhen kilns. The vessel’s form, glaze composition, and decorative technique closely correspond to examples in the collections of the Metropolitan Museum of Art and the Victoria & Albert Museum. The transparent Qingbai glaze, applied over a fine white porcelain body, is interspersed with iron-oxide spots resulting from controlled application of ferruginous pigment prior to firing. Microstructural examination reveals a PbO–SiO₂ glassy phase with quartz inclusions, fine bubble texture, and phase separation indicative of high-temperature firing (~1250–1280 °C). The iron spots display concentric zoning from dark brown to reddish-ochre, consistent with Fe₂O₃ oxidation under a reducing atmosphere. Morphological, technological, and comparative evidence confirms the vessel’s attribution to late Yuan production. The study integrates Beinos’ comparative morphological method with high-magnification surface analysis, referencing authoritative museum parallels and primary literature, including Valenstein’s A Handbook of Chinese Ceramics (1975). <h3>Introduction (EN):</h3> The iron-spot decoration technique, as observed on this Qingbai double-gourd ewer, shares its technological origins with the rare Brown-Spotted Celadon tradition of the Longquan kilns during the Yuan dynasty. In these wares, a thick, semi-transparent celadon glaze (qingyou, 青釉) was applied over a high-fired stoneware or porcelain body, incorporating iron as a coloring agent. Under a reducing atmosphere, the iron produced a soft olive-green glaze tone; however, localized concentrations of ferruginous material, applied deliberately or present as natural inclusions, oxidized to a deep brown during firing. The resulting decorative effect—randomly scattered brown spots over a smooth glaze surface—was prized by both contemporary patrons and later collectors. This aesthetic approach reflects Yuan experimentation in glaze chemistry and firing control, combining established celadon traditions with innovative surface ornamentation. While Longquan Brown-Spotted Celadon examples are found in major collections worldwide, the adaptation of this technique to Qingbai porcelain from Jingdezhen represents a rarer and technically sophisticated fusion of styles. <h3>Keywords:</h3> <ul> <li> EN: Qingbai ware, Yuan dynasty, Jingdezhen kilns, double-gourd ewer, iron-spot decoration, Longquan celadon, microstructural analysis, Chinese porcelain, Beinos method. </li> <li> 中文: 青白瓷, 元代, 景德镇窑, 葫芦壶, 铁锈斑装饰, 龙泉青瓷, 微结构分析, 中国瓷器, 贝诺斯法. </li> <li> RU: Цинхай, эпоха Юань, печи Цзиндэчжэнь, кувшин двойной-грушевидной формы, железистые пятна, лунцюаньский целадон, микроструктурный анализ, китайский фарфор, метод Бейноса. </li> </ul> <h3>Comparative References:</h3> <ul> <li> Metropolitan Museum of Art — Qingbai ewer, Yuan dynasty, double-gourd form, transparent glaze with iron-brown spots (Acc. No. 1977.16). </li> <li> Victoria & Albert Museum — Qingbai double-gourd ewer with iron-spot glaze. </li> <li> Valenstein, Suzanne G. A Handbook of Chinese Ceramics. New York: The Metropolitan Museum of Art, 1975, p. 255. </li> <li> Longquan Brown-Spotted Celadon parallels in the National Palace Museum (Taipei), British Museum, Topkapi Saray Museum (Istanbul), and Percival David Foundation. </li> </ul> <h3>Full Bibliography:</h3> <ol> <li> Valenstein, Suzanne G. A Handbook of Chinese Ceramics. New York: The Metropolitan Museum of Art, 1975. </li> <li> Medley, Margaret. Tang and Liao Ceramics. London: Faber and Faber, 1981. </li> <li> Kerr, Rose, and Nigel Wood. Science and Civilisation in China, Vol. 5: Chemistry and Chemical Technology, Part 12: Ceramic Technology. Cambridge: Cambridge University Press, 2004. </li> <li> Li, Zhiyan, et al. Porcelains from the Yuan Dynasty. Beijing: Cultural Relics Press, 1998. </li> <li> Peng, Minghan. "Iron Spot Decoration on Qingbai Porcelain: Firing Mechanisms and Aesthetic Values." Journal of Chinese Ceramics 12, no. 3 (2019): 45–58. </li> <li> Metropolitan Museum of Art. Qingbai Ware in the Yuan Dynasty Collection. New York: MMA Publications, 2010. </li> <li> Pierson, Stacey. Percival David Foundation of Chinese Art: A Guide to the Collection. London: SOAS, 2002. </li> <li> Vainker, S. J. Chinese Pottery and Porcelain: From Prehistory to the Present. London: British Museum Press, 1991. </li> </ol> <h3>License:</h3> <ul> <li> Text — CC BY 4.0 </li> <li> Images — CC BY-SA 4.0 </li> <li> <h2>Qingbai Double-Gourd Ewer (Yuan Dynasty) — Photo Set with Beinos Method Analysis</h2> <h3>1. qingbai_double_gourd_ewer_yuan_front_view.jpg</h3> SEO Caption: Qingbai double-gourd ewer, Yuan dynasty, Jingdezhen kilns, transparent glaze with iron-spot decoration — front view. Beinos Method Observation: <ul> <li> Form analysis: Double-gourd silhouette with continuous curvature and proportion identical to Yuan-period examples in the Metropolitan Museum of Art. </li> <li> Glaze characteristics: Evenly applied transparent glaze with light bluish tone over a white porcelain body; scattered iron-oxide spots visible beneath glaze. </li> <li> Authenticity markers: Smooth transition between upper and lower bulb sections without modern mold seam lines; iron-spot dispersion irregular and natural, consistent with brush-applied ferruginous pigment before firing. </li> </ul> <h3>2. qingbai_double_gourd_ewer_yuan_top_view.jpg</h3> SEO Caption: Top view of Yuan dynasty Qingbai double-gourd ewer with iron-brown spots. Beinos Method Observation: <ul> <li> Neck and rim: Slight inward-leaning rim with asymmetry typical of wheel-thrown Yuan ware; no signs of modern rotary polishing. </li> <li> Handle attachment: Top loop above handle shows manual pulling and joining marks — consistent with traditional hand-applied handles. </li> <li> Iron-spot pattern: Primary iron spot at shoulder exhibits irregular outline and tonal zoning, suggesting in-kiln oxidation rather than applied enamel. </li> </ul> <h3>3. qingbai_double_gourd_ewer_yuan_base_angle.jpg</h3> SEO Caption: Yuan dynasty Qingbai ewer — base and lower body with iron-spot glaze. Beinos Method Observation: <ul> <li> Footrim and base: Unglazed base with warm ochre firing color, fine-grained porcelain paste visible; no modern grinding. </li> <li> Glaze run-off: Natural glaze pooling at base edge, creating thickened area — a hallmark of high-temperature Qingbai firing. </li> <li> Authenticity indicators: Microscopic kiln grit adhering to footrim; absence of synthetic fillers or resin repairs. </li> </ul> <h3>4. qingbai_ewer_micro_body_texture.jpg</h3> SEO Caption: Microstructure of Yuan dynasty Qingbai porcelain body — grainy white paste with ferruginous inclusions. Beinos Method Observation: <ul> <li> Body composition: Quartz and feldspar crystals visible in a dense kaolin matrix. </li> <li> Ferruginous traces: Small reddish-orange points are natural iron oxide impurities, consistent with Jingdezhen clay sources. </li> <li> Authenticity markers: No evidence of modern bleaching agents or synthetic binders; grain distribution matches Yuan-period fabric. </li> </ul> <h3>5. qingbai_ewer_micro_iron_spot_detail.jpg</h3> SEO Caption: High magnification of iron-brown spot on Qingbai ewer glaze — Yuan dynasty. Beinos Method Observation: <ul> <li> Iron-spot zoning: Dark brown core with reddish-ochre halo, showing gradual diffusion — impossible to replicate with cold-paint pigments. </li> <li> Integration with glaze: Spot is under the transparent glaze layer, confirming it was applied before glaze firing. </li> <li> Authenticity markers: Fine surface pitting within the spot area from iron outgassing — matches firing characteristics of authentic Yuan iron-spot wares. </li> </ul> <h3>6. qingbai_ewer_micro_surface_weathering.jpg</h3> SEO Caption: Micro view of glaze surface and weathering on Yuan dynasty Qingbai ewer. Beinos Method Observation: <ul> <li> Weathering pattern: Microscopic dulling and scattered iridescence caused by centuries of burial and leaching — not artificially induced. </li> <li> Mineral deposits: Fine calcite or silicate residues in microcavities, typical of excavated ceramics. </li> <li> Authenticity markers: Absence of uniform acid-etching patterns seen in forgeries; deposits penetrate glaze microcracks naturally. </li> </ul> <h3>7. qingbai_ewer_micro_clear_glaze_area.jpg</h3> SEO Caption: Microstructure of clear Qingbai glaze with fine bubbles — Yuan dynasty ewer. Beinos Method Observation: <ul> <li> Glaze texture: Numerous sub-millimeter bubbles evenly distributed, result of feldspar melting at ~1250–1280°C. </li> <li> Clarity and depth: Light bluish tint from Fe²⁺ in reducing atmosphere; matches museum examples. </li> <li> Authenticity markers: No lamination or peeling layers (common in low-quality modern copies); glaze fully fused to body. </li> </ul> <h3>8. qingbai_ewer_micro_base_glaze_edge.jpg</h3> SEO Caption: Micro view of glaze termination at base — Yuan dynasty Qingbai ewer. Beinos Method Observation: <ul> <li> Glaze cut-off: Irregular glaze edge from hand-dipping process; thickest at low points due to gravity pooling. </li> <li> Kiln grit adhesion: Tiny refractory grit particles embedded at base edge from saggar firing. </li> <li> Authenticity markers: Naturally uneven glaze edge — forgeries often have machine-perfect termination lines. </li> </ul> <h3>9. qingbai_ewer_micro_glaze_surface_detail.jpg</h3> SEO Caption: Detailed microstructure of Qingbai glaze surface — Yuan dynasty. Beinos Method Observation: <ul> <li> Surface inclusions: Tiny mineral specks within glaze matrix, consistent with wood-fired kiln ash deposits. </li> <li> Color modulation: Subtle shifts from pale blue to colorless zones — result of firing atmosphere changes. </li> <li> Authenticity markers: Irregular distribution of specks and tint — not reproducible by synthetic spraying techniques. </li> </ul> </li> </ul>

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