Covered jar of celadon glaze, body decorated with peony scroll, with base decorated with lotus petals. The circular contours of a peony scroll have been slightly compressed to complement the squat belly of the jar.
Peonies are associated with wealth, imperial splendor, and the erotic appeal of a beautiful woman. In this small but exquisite example of Longquan ware, the circular contours of a peony scroll have been slightly compressed to complement the squat belly of the jar. The Longquan kiln Zhejiang Province emerged as the primary center of celadon ceramics in second quarter of the thirteenth century, when the Song court established its southern capital at nearby Hangzhou. It reached its peak of production during the first quarter of the fourteenth century, when this jar is made, and were exported to markets in East and Southeast Asia, as well as the Middle East.
The green mountains in this fan painting appear truly vertical and solid. The clouds, too, in spite of their rounded edges appear to be frozen in space. A pine tree bends over the side of the cliff, with its foliage over a traveler in white crossing a bridge below.
Mountains in Chinese culture have long been recognized as majestic, where deities, spirits and immortals could reside. The blue and green mountains in this scroll evoke Tang period (618-907 CE) painting style, as well as the famous twelfth century painter Zhao Boju. Zhao Boju was famous for his exquisite paintings making use of malachite green and azurite blue mineral pigments, and this work is signed with his alternate name Qianli Boju. The signature was probably added by someone who wanted to sell the painting for a higher price than could be fetched by an anonymous work.
Rooted into the mountainside a “greeting-guest pine” bends over the traveler, welcoming the traveler the pavilion above.