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Hello All
This may seem somewhat presumptuous of me, especially as I am not an Asian Art expert, but I would like to propose a new term in the study of Chinese ceramics: the “Dangyangyu Revival".
A revival of what, you may ask? I believe I have found evidence of a long-forgotten group of specific motifs that were revived several centuries later, although the original meaning and symbolism of those motifs appear to have been lost.
This bowl is an example.
Its decoration depicts a bird on a plum blossom branch, alongside an orchid motif. Other examples also feature bamboo. Yes, that is supposed to be a bird, even though it is not immediately evident.
But why Dangyangyu Revival?
The Dangyangyu kiln ceased production during the Yuan dynasty and so I have to assume that the later porcelain bowls were most likely made in Jingdezhen.
The following comparison images provide the clue.
The top image is a Northern Song dynasty Dangyangyu zisu bowl, with its rare slip-painted bird and prunus branch. Zisu refers to the black-glazed exterior and ivory-white interior. The bowl is one of three which came from a private collection that had gone unnoticed for many years.
Notice the orchid motif, painted in a Song-inspired style.
I had originally, incorrectly, assumed that the motif was pine, but assessing the group of three Dangyangyu bowls together shows that this is a very early artistic representation of an orchid.
There is a clear difference in the shades of the interior glaze: ivory-white on the original Dangyangyu bowl, compared with the bluish-white glaze of the Revival example.
The Museum of East Asian Art in Bath holds a comparable bowl, dated by its founder, Brian McElney, to the seventeenth century and classified as Batavian ware, reflecting the trade in Chinese ceramics through Batavia, present-day Jakarta. This particular bowl has a very simplified orchid motif as well as the bird on a prunus branch.
It would appear that later bowls during the nineteenth century also included the bamboo motif. Below is the Dangyangyu bamboo motif.
The three Dangyangyu bowls share a remarkably distinctive decorative vocabulary.
The decoration includes motifs that could be recognised individually — orchid, bamboo, flowering branches and bird — but their particular treatment and combination seem highly unusual on Northern Song ceramics.
The three bowls are especially intriguing because they are not identical.
Each carry related decoration, but the designs clearly vary in their execution. Together, however, they suggest that the motifs belong to a coherent decorative repertoire rather than being isolated or accidental additions. Not the "Three Friends of Winter" or the "Four Gentlemen", but instead a long lost symbolism.
There are a few published examples of rare Dangyangyu ceramics with the bird on a branch motif and it would seem that the bamboo motif is also known, but as for the orchid motif it would seem that these three bowls may be the only ones currently known to have this particular decoration on Northern Song wares.
The revival bowls, on the other hand, have an impressionistic interpretation of the original motifs, which I believe shows that the later potters were copying a particular and possibly highly revered bowl, rather than fully understanding the true meaning of this group of motifs.
Dangyangyu Revival is my proposed term for these intriguing bowls, and a hypothesis that deserves further research.
I hope that you find this post interesting.
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Kangxi vases, Kangxi dishes and chargers, Kangxi ritual pieces, Kangxi scholar's objects, Qianlong famille rose, Qianlong enamels, Qianlong period paintings, Qianlong Emporer's court, Fine porcelain of the Yongzheng period. Chinese imperial art, Ming porcelain including Jiajing, Wanli, Xuande, Chenghua as well as Ming jades and bronzes.
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