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- around the outside. One of the boys is playing a flute. Above them is a band of triangular petal shapes. A similar pillow was found in the Boshan Dajie kiln site in Zibo city, Shandong province. See Wenwu, No. 9,1987, page 16.
F Pillow
stoneware, Cizhou ware, top 26.4 x 22.7 cm Jin/Yuan period, 13th century fmn Wide bean-shaped pillow with concave, forward-slant�ing top extending over the sides, covered with white slip and transparent glaze. Painted underglaze deco�ration in brown iron pigment of scholar beneath tree by waterside gazing off into the distance. The tranquil scene is reminscent of landscape paintings of the period. The lobed border consists of five lines which are interspersed with small arc-like brushstrokes on the four sides. The sides of pillow are covered by freely painted leafy scrolls. Similar to figure 146, Group 12/C in Yutaka Mino�s Freedom of Clay and Brush through Seven Centuries in Northern China: Tz�u-chou Type Wares, 960-1600 A.D., Indianapolis, 1980, and perhaps done by the same artist.
G Pillow
stoneware, Cizhou ware, top 29.5 x 15.5 cm Jin/Yuan period, 13th-early 14th centuries ARM
Rectangular-shaped pillow with slightly concave, for�ward-slanting top overhanging the vertical sides, cov�ered with white slip and transparent glaze. Painted underglaze decoration in black iron pigment of fisher�man beneath tree by waterside with tree on opposite bank. Scene is set in an ogival frame with floral scrolls, all of which is bordered by rectangular frame. Front side with well-painted bamboo and back side with flower, both in ogival frame with floral scrolls. The end
sides have painted flowers in an ogival frame. Three- character mark of Zhang Jia Zuo (made by the Zhang family) stamped on the base in a vertical column with a lotus leaf at the top and a lotus flower at the bottom. Archaeological excavations have shown that several generations of the Zhang family of potters specialized in making these types of ceramic pillows in the 12th and 13th centuries. The pillows were used by women when they slept so as to keep their elaborate hairdoes in place. Also they were placed in the tomb for the corpse to rest its head. This example was excavated at Wu�s brick kiln in the northern suburbs of Anyang, Henan.
H Stem Bowl
porcelain, underglaze blue, ht. 13.5 cm Qing dynasty, Qianlong reign (1736-96)
JMH
Blue and white porcelain stem bowl painted on exterior with eight lhantsa characters amongst formal lotus with sprays forming arched panels. Band of lappets on bottom side of bowl and on stem foot are half chrysan�themums and ruyi heads suspending jewelled festoons. Large flower head at the centre of interior. Interior of stem has six-character mark dating it to the Emperor Qianlong (1736-96) reign period.
I Painting Manual of the Mustard Seed Garden woodblock prints Qing dynasty, Kangxi (1679) and Qianlong (1782) periods FMN The Painting Manual of the Mustard Seed Garden (Jieziyuan Huazhuan) is a classic set of woodblock printed volumes which demonstrate the technique as well as the spirit of Chinese painting. The title of the manual comes from the name of the publisher�s home in Nanjing. The publisher is Shen Xinyu. His father-in- law, Li Yu, wrote the preface and the manual was written by three brothers surnamed Wang. It was first published in five parts in the 18th year of Kangxi�s reign (1679) and had a later expanded edition during the reign of Qianlong in 1782. The Menzies collection has several examples from both editions. These wood�blocks, with beautifully registered colour, are amongst the finest early coloured woodblock prints in existance. This famous manual is must-reading for anyone wish�ing to study Chinese painting.
J Landscape (dated 1928) by Aisin-Gioro Pu Ru (1896-1963)
hanging scroll, ink and colours on silk,
53 x 22.2 cm FMN
Pu Ru was one of the brothers of the last Manchu emperor of the Qing dynasty (1644-1911). Being of the imperial family, he received a classical education. He studied in Berlin and received two doctoral degrees. In 1929 he went to Japan to teach at the Kyoto Imperial University. After he returned to China, he became a teacher at the Beijing National Arts College. With the establishment of the People�s Republic of China in 1949, he moved to Taiwan where he became an impor�tant art teacher and painter. His landscapes show much of the painting styles of Song and Yuan masters. This charming little landscape, painted in 1928, is after Song masters.
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