Song Dynasty

By the time of the Song dynasty (960~1279 AD), it had greatly influenced other kiln traditions, leading to the development of the classic longquan celadon, which became one of China’...

These pottery figures often unglazed or painted with basic pigments, depict soldiers, attendants, animals, and daily life objects meant to serve the deceased in the afterlife. Perio...

A superb Korean celadon bowl with elaborate slip inlays circa 12th century from the Goryeo Dynasties (918 to 1392AD). Despite inspired originally by the celadons from Song Dynasty in...

On offer is a Korean celadon bowl with elaborate slip inlays circa 13-14th century from the late Goryeo Dynasties (918 to 1392AD). Despite inspired originally by the celadons from So...

The low, broad foot rim is unglazed, exposing a compact reddish-buff stoneware body. Period : Song-Yuan Dynasty(907~1279) Type : Jar Medium : White glazed(or Qingbai type) ware Dime...

These decorations were rendered in a stylized, often less refined manner, which set them apart from the more polished ceramics of the Song Dynasty.

Bird cage culture is a part of traditional Chinese culture which can be dated back to more than a thousand years ago during the Song dynasty. In the middle of the Qing dynasty, rais...

Though modern in origin, the vases take clear inspiration from Song dynasty prototypes, making them well suited to both traditional and modern interiors.

Bird cage culture is a part of traditional Chinese culture which can be dated back to more than a thousand years ago during the Song dynasty. In the middle of the Qing dynasty, rais...

Bird cage culture is a part of traditional Chinese culture which can be dated back to more than a thousand years ago during the Song dynasty. In the middle of the Qing dynasty, rais...

This has been appraised and inspected by a reputable Asian antiques dealer and this piece is a reproduction of the Song Dynasty 1200 A.D. and was most likely produced in the late 17...

Bird cage culture is a part of traditional Chinese culture which can be dated back to more than a thousand years ago during the Song dynasty. In the middle of the Qing dynasty, raisi...

Berndt Friberg was influenced by Chinese ceramics from the Song dynasty (10th to 13th century). Searching for some of the ceramics made in that period online is definitely worth a tr...

Originating from the Cizhou region in Hebei Province, their production was not limited to this area; it spread across various provinces in China during the Song, Yuan, and Ming dynas...

Qingbai porcelain incense stands of elegant baluster form, flanked by scroll-shaped handles and raised on an openwork square base. Covered overall in a soft bluish-white glaze, the p...

The decoration was created by coating the vessel with a layer of white slip and carving through it to reveal the darker body beneath, producing a strong visual contrast between the b...

By the time of the Song dynasty (960~1279 AD), it had greatly influenced other kiln traditions, leading to the development of the classic longquan celadon, which became one of China’...

Among the most celebrated achievements of Chinese ceramics is Qingbai, the luminous bluish-white glaze first perfected at the kilns of Jingdezhen during the Song dynasty. Revered for...

The long-neck vase is a classical form with origins in the Tang and Song dynasties, admired for its elegant silhouette and balanced proportions.

The painting's composition and style is based on Chinese 12th century Song Dynasty bird and flower paintings, and influenced by "one-corner" styles.

The glaze that the artist applied invokes a sense of purity that one found in the celadon from Chinese Song Dynasty and Korean Joseon period. The solid piece is very heavy, and it wa...

The combination of sophisticated glazing techniques and detailed decorative elements exemplifies the advanced ceramic artistry of the Northern Song and Jin dynasties.

By the time of the Song dynasty (960~1279 AD), it had greatly influenced other kiln traditions, leading to the development of the classic longquan celadon, which became one of China’...

The interplay of these symbols on the ewer suggests that it was more than a mere utilitarian object; it was imbued with cultural resonance and spiritual depth. Period : Yuan Dynasty...

In this listing you will find a pair of stunning Chinese Qingbai urns (or vases) in glazed ceramics dated to the Song Dynasty (960–1279 AD). The term qingbai translates to "green-whi...

The long-neck vase has a history that reaches back to the Song dynasty and continued through the Yuan, Ming, and Qing periods.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.

The forms were classical, inspired by the Song Dynasty's Chinese stoneware. During 1957-58, Friberg began working with different patterns in the glaze.