White-glazed Black-painted Lotus-patterned Yuhuchun Bottle from the Dangyangyu Kiln of the Song Dynasty
Product Overview
This product is a classic piece from the Dangyangyu Kiln of the Song Dynasty – a white-glazed black-painted lotus-patterned Yuhuchun bottle. It is a representative artifact of the folk kiln system in northern China during the Song Dynasty. As an important branch of the Cizhou Kiln system in the Song Dynasty, the Dangyangyu Kiln is renowned for its exquisite underglaze painting techniques. This Yuhuchun bottle fully showcases the simple aesthetics and craftsmanship wisdom of folk ceramics in the Song Dynasty, and serves as a precious physical material for studying the development of northern folk kilns and the aesthetic trends of literati in the Song Dynasty.
Materials and Techniques
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Characteristics of the Body and Glaze: It uses the fine white body clay unique to the Dangyangyu Kiln. The body is dense and solid, and a layer of uniform white slip is applied on the surface to enhance the whiteness of the glaze. The glaze color is a warm off-white, with fine crackles and natural signs of use on the glaze surface, presenting a texture that reflects the passage of time.
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Decoration Technique: The underglaze black-painting technique is employed. Before glazing, iron pigment is directly used to paint patterns on the body, and then it is fired in the kiln at a high temperature in one go. The contrast between the black paint and the white glaze is sharp, and the lines are steady and smooth, demonstrating the mature underglaze painting skills of the Song Dynasty.
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Forming Technique: The bottle body is formed by throwing on the potter’s wheel. The string patterns on the neck are hand – piled, with distinct layers. The belly is evenly trimmed, and the overall lines of the vessel are harmonious, showing the proficient porcelain – making skills of the Song Dynasty artisans.
Design Features
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Classic Shape: It follows the classic proportions of the Yuhuchun bottle, featuring a flared mouth, a slender neck, a pendulous belly, and a ring foot. The mouth rim flares out in a trumpet shape. The neck is slender and decorated with three groups of double – line string patterns. The belly is round and full, and the ring foot is shallow and short. The overall shape is elegant and graceful, reflecting the aesthetic pursuit of “advocating propriety and elegance” in the Song Dynasty.
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Pattern Theme: The main pattern on the belly is a lotus design. The lotus petals unfold naturally, and the stamens are delicately dotted. The lines are simple yet vivid. In the Song Dynasty, the lotus symbolized purity and good luck, reflecting the integration and admiration of Confucian and Buddhist cultures in society at that time.
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Detail Treatment: The string patterns on the neck and the lotus patterns on the belly create a visual hierarchy. The strong contrast between black and white is not obtrusive, and the warm off – white tone of the glaze neutralizes the intensity of the black paint, presenting the unique style of “simplicity with refinement” of the folk kilns in the Song Dynasty.
Historical Background
The Dangyangyu Kiln started firing in the Tang Dynasty and reached its peak in the Song Dynasty. It is located in present – day Jiaozuo City, Henan Province. It is an important kiln in the northern Cizhou Kiln system, famous for its “white background with black paintings” technique. Its products combine practicality and artistry, and were highly favored by both the folk and the literati classes. The Yuhuchun bottle first appeared in the Song Dynasty. Initially used as a wine vessel, it gradually evolved into a porcelain for display and became one of the most representative shapes in Song Dynasty ceramics. This product is a typical example of this historical background, witnessing the prosperity and development of northern folk kilns in the Song Dynasty.
Collection Value
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Representativeness of the Kiln: Although the ruins of the Dangyangyu Kiln have been discovered, the number of intact Song Dynasty Yuhuchun bottles with clear patterns in existence is limited. This product retains the typical “white – glazed black – painted” technological features of the kiln, making it a precious physical material for studying the decorative style of the Dangyangyu Kiln.
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Integrity of the Craftsmanship: The whole vessel has no obvious damage, the glaze and color are well – preserved, the details of the lotus pattern are clear, and the string patterns have distinct layers, demonstrating the regularity and artistry of the production of folk kilns in the Song Dynasty, and possessing high value for technological research.
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Cultural Inheritance Significance: As a crystallization of the aesthetics and handicrafts of the Song Dynasty society, this product carries important technological and cultural information in the history of Chinese ceramics, providing a precious opportunity for Oriental antique collectors to access the folk art of the Song Dynasty.
Description of the Collection’s Condition
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The overall body of the vessel is well – preserved. There are fine abrasions and rust spots on the glaze surface, which are common phenomena in ancient porcelain of the Song Dynasty.
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There are slight old repair marks at the mouth rim (see the detailed pictures). These are reasonable preservation treatments during the collection process over the generations and do not affect the overall viewing and collection value.
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There are no inscriptions on the bottom, which is in line with the typical characteristics of folk – used porcelain from the Dangyangyu Kiln.
Maintenance Suggestions
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It is recommended to display it in a dry environment at room temperature, avoiding direct sunlight and drastic temperature changes.
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When cleaning, use a soft dry cloth to gently wipe it, and avoid washing with water or using chemical cleaners.
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When moving it, please hold the bottom and belly of the bottle body with both hands to avoid holding the neck with one hand, so as to prevent damage.
This product is a fine piece of Song Dynasty ceramics from VirtuCasa’s carefully selected Oriental antique series. There is only one piece available. It is suitable for collectors of Song Dynasty ceramics, researchers of Oriental art, or for classical space decoration. We sincerely invite you to appreciate and collect it.
宋代當陽峪窯白釉黑彩蓮紋玉壺春瓶
產品概述
本品為宋代當陽峪窯經典作品——白釉黑彩蓮紋玉壺春瓶，屬於中國北方地區宋代民窯體系中的代表性器物。當陽峪窯作為宋代磁州窯系的重要分支，以精湛的釉下彩繪工藝聞名，此件玉壺春瓶完整呈現了宋代民間陶瓷的樸實審美與工藝智慧，是研究宋代北方民窯發展及文人審美風尚的珍貴實物資料。
材質與工藝
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胎釉特徵：採用當陽峪窯特有的細白胎土，胎質緊密堅實，表面施一層均勻的白色化妝土，增強釉面潔白度；釉色呈溫潤的米白色，釉面帶有細微開片及自然使用痕跡，展現時光沉澱的質感。
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裝飾工藝：運用釉下黑彩繪技法，在施釉前以鐵繪料直接在胎體上繪製紋飾，入窯高溫一次燒成，黑彩與白釉對比鮮明，線條穩健流暢，體現宋代釉下彩繪的成熟技藝。
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成型工藝：瓶身採用拉坯成型，頸部弦紋為手工堆塑，層次分明，腹部修坯勻稱，整器線條協調，顯示宋代工匠嫻熟的制瓷功底。
設計特點
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經典器型：遵循玉壺春瓶「喇叭口、細頸、垂腹、圈足」的經典比例，口沿外撇呈喇叭狀，頸部細長並飾三組雙線弦紋，腹部圓潤飽滿，圈足淺矮，整體造型優雅秀麗，體現宋代「尚禮、尚雅」的審美追求。
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紋飾題材：腹部主飾蓮花圖案，蓮瓣舒展自然，花蕊點綴細膩，線條簡練卻生動傳神，蓮花在宋代象徵純潔吉祥，反映當時社會對儒釋文化的融合與推崇。
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細節處理：頸部弦紋與腹部蓮紋形成視覺層次，黑白對比強烈而不突兀，釉面溫潤的米白色調中和了黑彩的濃重，展現宋代民窯「樸素中見精緻」的獨特風格。
歷史背景
當陽峪窯始燒於唐代，盛於宋代，位於今河南省焦作市，是北方磁州窯系中以「白地黑花」工藝著稱的重要窯口，其產品兼具實用性與藝術性，深受民間及文人階層喜愛。玉壺春瓶最早見於宋代，初為酒器，後逐漸演變為陳設用瓷，成為宋代陶瓷中最具代表性的器型之一，本品正是這一歷史背景下的典型產物，見證了宋代北方民窯的繁榮與發展。
收藏價值
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窯口代表性：當陽峪窯遺址雖有發現，但完整帶有明確紋飾的宋代玉壺春瓶存世量有限，本品保留了窯口典型的「白釉黑彩」工藝特徵，是研究當陽峪窯裝飾風格的珍貴實物。
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工藝完整性：整器無明顯損傷，釉彩保存完好，蓮紋細節清晰，弦紋層次分明，展現了宋代民窯製作的規整性與藝術性，具較高的工藝研究價值。
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文化傳承意義：作為宋代社會審美與手工藝的結晶，本品承載了中國陶瓷史上的重要技術與文化信息，為東方古董收藏者提供了接觸宋代民間藝術的寶貴機會。
藏品狀況說明
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器身整體保存完整，釉面可見自然使用產生的細微磨損及鐵鏽斑，屬宋代古瓷常見現象。
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口沿處有輕微老修痕（詳見圖片細節），為歷代收藏過程中的合理保護處理，不影響整體觀賞與收藏價值。
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底部無款識，符合當陽峪窯民間用瓷的典型特徵。
保養建議
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建議常溫乾燥環境陳列，避免陽光直射及劇烈溫差變化。
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清潔時使用柔軟乾布輕拭，避免水洗或使用化學清潔劑。
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移動時請雙手托住瓶身底部及腹部，避免單手提握頸部，防止損傷。
本品為VirtuCasa嚴選東方古董系列之宋代陶瓷精品，僅此一件，適合宋代陶瓷收藏愛好者、東方藝術研究者或古典空間陳設，誠邀鑒藏。
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