The harmonious proportions and subtle decoration of this jar are characteristic of Song dynasty ceramics. It belongs to a category of Chinese stoneware known as Ding ware, as it was made in Dingzhou, in present-day Hebei province, north of the great north-south divide (see p.24). The jar is covered with an ivory-coloured glaze, which is a distinguishing feature of Ding ware. The design of a lotus is incised and the fluency with which the motif is executed testifies to the skill of the potter. To streamline production and to reduce cost, the Ding kilns introduced moulded decorations towards the middle of the twelfth century. Later-day ceramic collectors, however, have always valued incised decoration over moulded work.

In the eleventh century the choicest Ding wares were sent as tribute to the imperial court, as their subtle beauty suited the restrained taste of the Song dynasty emperors. After 1127 northern China came under the rule of the Nüzhen, a nomadic minority from outside the Great Wall, and Ding ware temporarily lost its 'imperial' status. However, when in 1368 China once more had an emperor of the Han race, Ding ware became prized by Chinese collectors again, and was hailed as one of the 'Five Great Song Ceramics' (together with Ru, Guan, Ge and Jun).