Lot 313. Property from the Puyaguting Collection. A large and rare Ding zhadou-form tea vessel, Five Dynasties - Northern Song Dynasty (907-1127); 22 cm wide (2). Estimate HK$1,400,000 - HK$2,600,000 (160 000 € - 290 000 €). Unsold. © Bonhams
 

Elegantly potted with a slightly compressed globular body supported on a short foot, surmounted by a short waisted neck extending to a thinly potted wide flared rim, covered in an attractive lustrous white glaze, the footring left unglazed revealing the fine white body, Japanese wood box.

Note: The present lot is particularly striking in its lustrous white glaze, superb and elegant potting as well as its well-balanced proportion of the vessel, demonstrating the exceptional craftsmanship in shaping the clay with steady hands and expertly managing the firing process in the kiln.

Vessels of this type, often referred to as a leys jar or zhadou, were inspired by metalworks of the Tang dynasty, see, for example, two silver zhadou illustrated in Tangdai jinyin qi (Gold and silverwares from the Tang Dynasty), Beijing, 1985, pls. 255 and 278. The present vessel is masterfully crafted in two sections: the globular lower body surmounted by a short cylindrical neck, rising to the flaring, shallow bowl-shaped mouth. The entire vessel is coated with a luscious creamy-white glaze, showcasing both technical and aesthetic refinement. Given the excellent potting and glazing, this type of vessel was likely used during tea or wine ceremonies to serve as a receptacle for tea leaves or wine dregs.

Zhadou of this size are particularly rare, it is probably the largest example available on the market. For vessels of comparable form and size, see a set of two zhadou covered overall in celadon glaze and carved with peony scrolls, Northern Song dynasty, excavated in the Lv family tomb in Lantian county, Shaanxi Province, illustrated in Lv Family Graveyard in Lantian, vol. 3, Beijing, 2018, pls. 6-18 and 6-19. See also a few related but smaller examples: a Dingyao white-glazed spittoon, Northern Song, in Dingzhou City Museum, illustrated in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), vol. 3: Hebei, Beijing, 2008, pl.95; another Dingyao example excavated in Inner Mongolia, illustrated in ibid., vol. 4, pl. 52; a Song example with the rim carved with meandering floral scroll, in the Palace Museum, Beijing, accession no. xin00056233.

Lot 317. Property from the Puyaguting Collection. A pair of carved Yaozhou 'floral' vases, Northern Song Dynasty (960-1127); The largest: 21.5 cm high (4). Estimate HK$1,500,000 - HK$2,000,000 (170 000 € - 220 000 €). Unsold. © Bonhams

Each elegantly-proportioned, finely potted with a slender baluster body rising to a broad shoulder surmounted by waisted neck and an everted lip, the sides boldly carved with stylized blossoms borne on continuous scrolling stems sprouting dense curly leafage, above a band of tall pointed petal-lappets, the flat shoulder carved with another band of petals, covered overall save for the unglazed foot with a soft olive-green glaze pooling to a darker tone at the recessed areas, the glaze stopping short of the unglazed foot revealing the pale grey body, fitted boxes.

Note: The present pair of vases is distinguished by their delicately potted, well-balanced form and bold relief carvings, which create a striking contrast between the raised and recessed areas of the freely rendered floral sprays. The craftsmen achieved a remarkable level of carving skill, employing a variety of depths, as well as rounded and angular lines to produce designs with clearly defined outlines. This technique resulted in recesses where the glaze could pool, enhancing the three-dimensional effect and showcasing the refined craftsmanship of the Northern Song period.

Initially fired in Tongchuan, Shaanxi province, during the Tang dynasty, the Yaozhou kiln reached its peak in the Northern Song dynasty, gaining recognition for its sophisticated celadon-glazed stoneware that resonated with the literati and aristocratic tastes of the time. It later established itself as the foremost producer of celadon-glazed wares in northern China. The majority of its output consisted of bowls and dishes, as tall vessels like vases required meticulous attention during the potting and firing processes, making them more time-consuming to produce. Therefore, it is exceptionally rare to find Yaozhou vases with smoothly rendered silhouettes and carefully carved designs, especially a pair.

A larger example (30.5 cm high) of this type, with similar and more complex floral decoration around the body, Northern Song to Jin dynasty, was excavated at Yao county, Tongchuan, Shaanxi province, now in the Yaozhou Kiln Museum, illustrated in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), vol. 15: Shaanxi, Beijing, 2008, pl. 167. Another similar meiping but without bands of petals around the rims, Song dynasty, is in the National Museum of China, Beijing, illustrated in Chugoku Toji Zenshu (The Complete Works of Chinese Ceramics), vol. 10: Yaozhou kiln, Kyoto, 1985, pl. 55.

Compare a few Yaozhou meiping carved in a similar style in private collections: a Northern Song example in the Meiyintang collection, illustrated in Chinese Ceramics from the Meiyintang Collection, vol. I, London, 1994, no. 426; another Northern Song example in the Muwen Tang collection, illustrated in The Muwen Tang Collection Series, vol. 11: Song Ceramics, Hong Kong, 2012, no. 122.

Lot 310. Property from the Puyaguting Collection. An exquisite and large Ding white-glazed vase, Northern Song-Jin Dynasty (960-1234); 26.5 cm high. Estimate HK$1,200,000 - HK$1,800,000 (130 000 € - 200 000 €). Sold for HK$1,528,000 © Bonhams

Finely potted with an elegant body, the rounded shoulders tapering to the slightly splayed foot, surmounted by a slightly waisted cylindrical neck and lipped rim, covered overall with a transparent glaze of creamy white colour stopping neatly at the foot where the fine white, porcelaneous ware is exposed, fitted box.

Note: Characterised by a perfectly balanced proportion and smooth, creamy-white glaze, the present vase exemplifies the technical and aesthetic standards of the highly sought-after white porcelain produced in the Northern Song dynasty.

The Ding ware, produced in the renowned kilns in Hebei province, is celebrated for its subtle elegance and refined craftsmanship. The delicacy of these ceramics is evidenced by their fine near-white body and thin, translucent glaze, which often has an ivory hue. This restrained aesthetic gives the objects with an elevated and distinctive quality.

Ding vases of this type are exceedingly rare. See a white-glazed vase of related form but with a flanged everted rim and decorated with grooved bands on the shoulder, Song dynasty, from the Avery Brundage Collection, illustrated in Chinese Ceramics: A New Comprehensive Survey from the Asian Art Museum of San Francisco, New York, 1996, pl. 227, where it is classified as 'Hebei (ding)'. Compare another ding-type vase, Liao/Northern Song dynasty, 11th-12th century, included in the exhibition Chinese Porcelain and Silver in the Song Dynasty, J.J. Lally & Co., New York, 18 March - 8 April 2002, no. 9, later sold at Christie's New York, 20–21 March 2014, lot 2076.

Lot 311. Property from the Puyaguting Collection. A finely carved Yaozhou celadon 'floral' dish, Northern Song-Jin Dynasty (960-1234); 22 cm diam. (2). Estimate HK$800,000 - HK$1,200,000 (88 000 € - 130 000 €). Sold for HK$956,500. © Bonhams

Finely potted with wide flaring sides rising from a short foot, well carved on the interior with crisp leafy floral stems, the exterior freely decorated with subtle petals, covered overall in a vitreous pale olive-green glaze pooling attractively around the recesses, fitted box.

Provenance: The Feng Wen Tang Collection, Hong Kong
Bonhams Hong Kong, 9 October 2014, lot 109

Lot 315. Property from the Puyaguting Collection. An exceptional and rare Northern-kiln black-glazed ribbed ewer, Northern Song to Jin Dynasty (960-1234); 16.7 cm across, 25 cm high (3). Estimate 4,000,000 - HK$6,000,000 (440 000 € - 670 000 €). Unsold. © Bonhams
 

Delicately potted with compressed globular body rising to a narrow waisted neck and flaring widely to the rim, set at one side with a tubular spout bent near the top opposite a high-arched handle connecting the mouth and the body, the shoulder applied with two upright flanges with curled trefoil terminals, covered overall save for the footring with a lustrous black-brown glaze thinning to russet at the edges, the body applied with narrow trails of white slip forming fine vertical lines to the body, lacquered cover and fitted box.

Note: Distinguished by its sturdily potted baluster body and lustrous black glaze featuring evenly-spaced 'ribs', the present ewer stands as one of the finest examples of its kind. The attractive ribs were carefully applied in slip to the surface of the vessel prior to glazing, resulting in a vivid contrast between the raised ridges and the smoother, darker areas of the glaze. The fine, straight ribs, running consistently from the neck to the base, showcase the remarkable skill and precision of the craftsmen throughout the process.

Dark brown or black-glazed stoneware vessels with ribbed designs appear to have been produced in several kilns across northern China, including those in Henan, Hebei, and Shandong province, especially in Zibo, during the Song and Jin dynasties. Two ewers of this type were excavated from the kiln site at Qingliangsi, Baofeng, Henan province, illustrated in Baofeng Qingliangsi yao (Kiln at Qingliangsi in Baofeng), vol.2, Beijing, 2020, pl.260-1 and 260-2. One of the examples was potted in a similar form as the present lot, but with a flared mouth and without the upright flanges. See also two black-glazed ribbed ewers of compressed globular form, Jin dynasty, included in the exhibition Xuan se zhimei: Zhongguo lidai hei you ciqi zhenpin (Masterpieces of Chinese Black-Glazed Ceramics Through the Ages), Shenzhen Museum, and illustrated in the catalogue, Shenzhen, 2012, nos. 124 and 125. Another related example with flat base and set with foliated upright flanges at the shoulder, Song dynasty, is in the National Museum of Korea, Seoul, accession no. Deoksu875.

Related ewers appeared also in private collection, including a Jin dynasty example from the ATAKA Collection, exhibited at the Museum of Oriental Ceramics, Osaka, Special Exhibition: Tenmoku: The Beauty of Chinese Black-Glazed Ware, and illustrated in the catalogue, Osaka, 2020, no. 7; one from the Meiyintang collection, dated Northern Song or Jin dynasty, illustrated in Chinese Ceramics from the Meiyintang Collection, vol. I, London, 1994, pl. 449; another Jin dynasty example from the Muwen Tang collection, illustrated in The Muwen Tang Collection Series, vol. 11: Song Ceramics, Hong Kong, 2012, no. 189.

Most of the published examples were made with a broad flat base or foot, the present ewer numbers among the rarest examples of this kind.

Lot 318. Property from the Puyaguting Collection. A Yaozhou celadon 'lotus-bud' altar jar, Northern Song to Jin Dynasty (960-1234); 11 cm high (2). Estimate HK$500,000 - HK$800,000 (56 000 € - 89 000 €). Unsold. © Bonhams

Of ovoid form, skilfully worked in relief around the exterior with a band of neatly carved lotus petals, each detailed with raised rib and pointed tip slightly curved outward, covered overall save for the footring and the inverted rim with an unctuous pale olive-green glaze suffused with fine crackles, the interior with a thin layer of translucent glaze, reticulated wood cover and fitted box.

Note: The present lot is distinguished by its elegant form, featuring petals in high relief that gracefully rise from the base and flare at the rim, with each pointed tip crisply crafted to resemble a blooming lotus.

Yaozhou jars decorated with protruding lotus petals are exceptionally rare. The lotus motif is typical in Yaozhou ware, particularly on everyday vessels, during the Song dynasty. See two bowls carved with overlapping lotus petals, excavated from Yaozhou kiln sites in Tongchuan, Shaanxi province, and illustrated in Songdai Yaozhou yao zhi (Yaozhou kiln sites in Song dynasty), Beijing, 1998, pl. 19 (bottom). Craftsmen usually applied the lotus pattern through carving, making the design of the present lot particularly rare. A related technique can be observed on a Yaozhou incense burner decorated with layers of protruding lotus petals, also discovered at Yaozhou kiln sites in Tongchuan, Shaanxi province; see ibid., pl. 10 (top).

Compare examples from other kilns include a Yue cup stand with the upper section shaped like an inverted lotus, excavated from a construction site at Shangpuzha, Shangyu district in Shaoxing, in 1979, now in the Shangyu Museum, illustrated in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), vol. 9: Zhejiang, Beijing, 2008, pl. 155; and a Yue bowl and stand featuring related lotus petal decoration, Five Dynasties, excavated from the pagoda in the Yunyan Temple, Huqiu Hill, Suzhou, now in the Suzhou Museum, illustrated in Zhongguo mei shu fen lei quan ji: Zhongguo taoci quanji (Complete Collection of Classified Chinese Fine Arts: The Complete Works of Chinese Ceramics), Vol. 6: Tang, Five Dynasties, Shanghai, 2000, no. 209.

See an earlier Yue slender baluster jar and cover, adorned with overlapping lotus petals and dated to the Five Dynasties, from the Feng Wen Tang Collection, and later sold at Bonhams Hong Kong, 9 October 2014, lot 126.

Lot 309. Property from the Puyaguting Collection. A Longquan celadon-glazed 'lotus' bowl, Southern Song Dynasty (1127-1279); 16.2 cm diam. (2). Estimate HK$100,000 - HK$150,000 (11 000 € - 17 000 €). Unsold. © Bonhams

Well potted with deep rounded sides rising from a short straight foot, the exterior subtly moulded and carved with lotus petals, covered overall with a soft plum-green glaze, the footring unglazed, fitted box.

Note: The present lot belongs to a typical group of celadon wares produced at the Longquan kilns. See a similar Southern Song example (17.2cm diam.) in the Palace Museum, Beijing, illustrated in Longquan of the World: Longquan Celadon and Globalization, vol. 1: A History of Thousands of Years, Beijing, 2019, cat. no. 33. Another similar bowl (17.5cm diam.) with a metal mount at the mouth rim, dated to Song dynasty, is in the Palace Museum, Taipei, accession no. zhongci005051.

Compare also a Longquan celadon 'lotus' bowl (16.5cm diam.), Southern Song dynasty, which was acquired from Edward T. Chow, and later sold at Sotheby's Hong Kong, 9 April 2024, lot 53.

Lot 312. Property from the Puyaguting Collection. A small Hunyuan black-glazed 'oil-spot' tea bowl, Song Dynasty (960-1279); 8.8 cm diam. (2). Estimate HK$250,000 - HK$400,000 (28 000 € - 44 000 €). Unsold. © Bonhams

Robustly potted with deep conical sides rising from a short foot to a subtly inward-curving lip, covered overall with a lustrous dark glaze suffused with red-tinged silvery 'oil spots' thinning to a russet hue along the rim, the glaze stopped neatly above the foot exposing the greyish stoneware body, fitted box.

Note: The Hunyuan kiln, located in Hunyuan County, Datong, Shanxi, has a rich history dating back to the Tang dynasty and flourished during the Song and Jin dynasties before experiencing a gradual decline in the Yuan dynasty. The abundant mineral resources in the area, including coal, copper, iron, and kaolin, provided the essential materials for ceramic production, making it one of the important kilns in Shanxi province. During the Song, Liao, and Jin dynasties, the Hunyuan kiln expanded significantly, producing a wide variety of porcelain, including bowls, vases, pillows, and sculptures. The types of glaze encompassed black, white, yellow, and celadon hues. These developments reflect the growth in both the scale and craftsmanship of the Hunyuan kiln throughout this period.

Tea bowls of this type from the Hunyuan kiln are characterised by their dark, lustrous glaze and the refined, distinctive 'oil-spot' decoration. The present bowl is applied with a lustrous black glaze attractively suffused with an intricate pattern of silvery speckles. When viewed under light, the bowl reveals a captivating reddish sheen, enhancing its visual appeal and making it particularly suited for tea preparation and enjoyment.

For related 'oil-spot' vessels from kilns in Shanxi, see a black-glazed 'oil-spot' dish with a similar pattern of speckles, Song dynasty, in the Palace Museum, Beijing, accession no. xin00106080.

Lot 308. Property from the Puyaguting Collection. A Guan-type glazed bowl, Early Ming Dynasty; 12.7 cm diam. (2). Estimate HK$100,000 - HK$150,000 (11 000 € - 17 000 €). Sold for HK$128,000. © Bonhams

Well potted with deep rounded sides rising to a very gently incurved rim, applied overall save for the footring with a thick, vitreous greenish-grey glaze suffused with a dense network of attractive dark crackles, the unglazed footring burnt orange, box.

Lot 314. Property from the Puyaguting Collection. A large Jun blue-glazed jardiniere, Ming Dynasty (1368-1644); 18.3 cm high. Estimate HK$400,000 - HK$600,000 (44 000 € - 67 000 €). Unsold. © Bonhams
 

Of inverted bell form, robustly potted with deep rounded sides rising from a slightly splayed foot to a flaring rim, covered overall with a thick and finely flecked glaze of milky-blue tone thinning to a mushroom hue at the mouth rim, the base pierced with five drainage holes, wood box.

Note: Characterised by their sturdy yet elegant shapes and refined glazes, Jun wares are among the most visually impressive ceramics from the Song, Jin, and Yuan dynasties. The present jardiniere showcases the unctuous speckled milky-blue glaze, which beautifully complements its gracefully curved silhouette.

Jun ware is recognised as one of the five Song dynasty classics, according to Ming dynasty literature. However, contemporary scholars predominantly attribute decorative Jun vessels – such as the current jardiniere – to those produced in Yuzhou, Henan province (previously known as Junzhou), dating from the Jin to the Ming dynasties. Recent research and archaeological evidence indicate that this particular type of Jun flower receptacle was more likely produced during the early Ming dynasty. Previously, scholars relied on a mould for coins inscribed with the reign of Xuanhe (1100-1126), which was excavated from the kiln site, to support a Song dynasty dating. However, the authenticity of these coins has been questioned due to stylistic differences from genuine Xuanhe yuanbao. Additionally, the Shanghai Museum has conducted Thermoluminescence (TL) tests on this group of vessels, which challenge the traditional attribution to the Northern Song dynasty and suggest they were actually made at the height of the early Ming dynasty.

There are three numbered examples preserved in the Palace Museum, Taipei, illustrated in A Panorama of Ceramics in the Collection of the Palace Museum: Chün Ware, Taipei, 1999, pls. 17, 18, and 19. Another related jardiniere, also featuring the same form and covered in an exquisite purple-blue glaze, is in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 23. A further example is illustrated in Chugoku meito ten: Chugoku toji 2000-nen no seika (Exhibition of Chinese Pottery: Two Thousand Years of Chinese Ceramics), Tokyo, 1992, no. 39, which retains the Song dynasty attribution.

Compare also a closely related Jun jardiniere of similar size with the base incised with a numeral si (four), Yuan - early Ming dynasty, 14th - 15th century, illustrated in The 15th Anniversary Catalogue, Idemitsu Museum of Arts, Tokyo, 1981, no. 693, later sold at Christie's Hong Kong, 26 November 2018, lot 8021.

Lot 316. Property from the Puyaguting Collection. An incised white-glazed 'dragon' vase, meiping, Ming Dynasty, 14th century; 27.3 cm high (2). Estimate HK$100,000 - HK$150,000 (11 000 € - 17 000 €). Unsold. © Bonhams

Rising from a slightly splayed foot to a broad-shouldered body, surmounted by the waisted neck and everted rim, finely incised around the exterior with a pair of dragons in pursuit of a flaming pearl amidst ruyi-shaped clouds above tempestuous waves, the shoulder collared with ruyi cartouches enclosing floral motifs, the neck decorated with a band of upright stylized leaf-lappets above a floral border, all above a wide band enclosing mythical beasts leaping over crashing waves amidst jagged rockwork, covered with a glaze of milky-white tone that continues over the mouth rim, the footring left unglazed revealing the biscuit body, box.

Note: See a related meiping with similar incised decorations but of much larger size (41.5 cm high), Jiajing six-character and of the period, in the British Museum, accession no. 1945,1016.15. See also two larger examples of this type but decorated with floral scrolls, one with the original cover bears a Jiajing mark (47 cm high) and the other bears a Wanli mark (42 cm high), both excavated at Dongsimu village in Beijing, now in the Capital Museum, illustrated in Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), vol. 1: Beijing, Beijing, 2008, pls. 191 and 192.

Bonhams. Fine Chinese Ceramics and Works of Art, Hong Kong, 29 October 2025