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"Shiwan art does not stand apart from the common people, as do many works from the better known kilns of Dehua and Jingdezhen, as perfected stylized intellectual objects. Possibly that is one reason why the Shiwan products have rarely been appreciated by the scholars and intelligentsia. Perhaps this deficit can be rectified by accepting the work for what it is rather than be invidious comparisons against classical art. It speaks its own message and that is unique"
Olaf K. Skinsnes
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« Last post by GeorgeI on March 12, 2021, 09:14:05 am »
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« Last post by GeorgeI on March 05, 2021, 04:15:19 pm »
Follow up from Zu Tang-Ju and Nanshi Wares, An AnalysisDating of the Mainstream of Shiwan Ware from Nanhai The above sections of the classification of Yangjiang, Zu Tnag Ju Nanshi wares have included discussion on their possible and suggested dates. Dating of the mainstream of Shiwan ceramic wares produced in Nanhai Xian remains to be treated. Dating of Ming and Qing wares from Nanhai's Shiwan is perhaps the most difficult and least studied aspect of this pottery. Rather than presenting the dates employed for the various objects as absolute at this time , it has been the aim of this exhibition to display as many materials as possible which aid in dating to compare as many opinions as possible and to highlight the areas where differences of opinion exist. In so doing the experience and opninion of those who are knowledgeable are sought and it is hoped that in this manner the entire question may be reconsidered by the interested public. In addition to the reign marks, specimens available to this exhibition include six Zu Tang Ju marks, five Nanshi marks, ten ship marks and 74 personal marks representing 32 different artists. Most of these are either on display or illustrated in the section on marks. These together with the compendious list of artist and shop marks with dates, provided by Guangzhou, contributes greatly towards dating of the marked wares. For the unmarked Shiwan wares problems of dating are even more difficult. There have to date been no proper and systematic stylistic dating of Shiwan ware and it should be emphasized that the dating of these wares is still a subject wide open to controversy which calls for continuing and serious efforts. This study has indeed been fortunate in having two independently dated selections, that from Guangzhou and that from Hong Kong. In Hong Kong many opinions have been sought, including those of antique dealers and contributing Shiwan collectors. Guangzhou has also taken great care in consulting many opinions. While neither effort has arrived a a total consensus of all the contributing advisors, it can be broadly noted that just as Guangzhou does not accept Ming reign marks, she also tends to assign many fewer unmarked Shiwan wares with a Ming date than do those knowledge in Hong Kong. Furthermore, some Hong Kong advisors divide the wares they designate as Ming into "early, middle or late" periods, whereas Guangzhou advisors for the most part feel that differentiation is impossible to make.
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« Last post by GeorgeI on March 04, 2021, 09:12:30 pm »
Shiwan Ceramic Vase 4 3/4" tall Shiwan ceramic vase with glazes in moon white, eel skin yellow, light blue and the lion mask handles in brown. For the front, the seal script character on the right represents roots and soil (breaking ground). The symbol to the left is "spring water flowing from a cave or from the mouth of a spring". The back side, I can not find a match for either character. Lion mask handles on both sides with scrolling chrysanthemum on the front and back of the base. Early 20th century.      
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« Last post by GeorgeI on March 02, 2021, 04:32:57 pm »
Shiwan Ceramic Glaze ColorsGathering of the Earthly Gods, He ChiyuanIn general Shiwan ceramic glaze colors can be divided into red, yellow, blue, green, white, black and reddish brown. There are numerous tones of Shiwan ceramic red glazes, including bright red, deep red, pomegranate red, sour carambola red, and iron rust red. The muddy and thick iron green Shiwan ceramic glaze always forms floral designs on the surface, commonly known as iron rust motif. Yellow Shiwan ceramic glaze consists of brownish yellow, grapefruit yellow, lemon yellow, eel skin yellow and turtle yellow. Green Shiwan ceramic glaze comprises cucumber green, mother of pearl green, emerald green and peacock green. Blue Shiwan ceramic glaze contains blue, light blue, diamond blue and the blue jun glaze. White Shiwan ceramic glaze has a variety of onion white, ivory white, moon white ( clair-de-lune ), powder white and white slip. Brown Shiwan ceramic glaze is also known as vinegar jar glaze, a transformation of black glaze. Black Shiwan ceramic glaze is commonly referred to the black bronze glaze, while the crystallized and slightly powdered greenish-yellow tone examples are called temmoku and tea dust glaze. Shiwan ceramic glaze colors are characterized by their brilliant "down to catch muddy" yet thick tints in great varieties. The Shiwan ceramic kiln excels in imitating glaze colors of famous kilns to form its unique style innovations. The crackle glaze in different colors is in imitation of Ge kiln. There are large and small ice crackles known as "meshing crackles" and "fish ice crackles". The brilliant flambe glaze after Jun kiln has a colloquial name of Hua Jun (blossom Jun) and mainly belongs to the category of blue glaze. Red glaze is also one special feature of Shiwan Jun glaze, characterized by its elegant and lustrous tints with diversified motives. Among them, the gems are featured by cricket and cockroach wing motives and the most common colors are bright red or aubergine. Furnace transmutation refers to the chemical change of glaze colors during high firing process, resulting in the melting and fusing of coloring agents which inclue iron and copper, and transmuting into fantastic and metaphysical colors of artistic effect. Some of the transmutation glazes are natural and changeable just like the four seasons, some are gigantic and resembles the mountains and rivers as well as wind and snow, some are emerald like echoing stirring green waves, while some are as charming as precious flowers. Those superior graded vessels with unique furnace transmutation glaze are crowned as "kiln treasures". The brilliant Shiwan ceramic glaze colors are the outcome of a selective us of material and firing processes. The Shiwan potters fused one specified glaze color with different kinds of organic and inorganic materials. In the past this was a confidential procedure and some glaze compositions are kept secret just like the prescriptions of medicine. Shiwan ceramic glaze colors are thus also known as glaze prescriptions, with detailed production processes such as dipping, blanching and washing, as well as undergoing calcification grinding and even rustiness to decompose and create oxidized material. The selection of material to prepare glaze prescriptions must be particularly and meticulously treated. For instance the location of digging the Longjiang stone and star cinnabar for preparing red glazes must be carefully selected. The copper used for glaze must be caked by the thinnest and rigid "gold flowere leaf". The "mirror disc" must also select good material containing mercury and tin, while in preparing crackled glaze, some pure glass and jade or rock surface powder should be chosen to inhance a graceful and natural color. Shiwan glaze colors can be classified into high fired, middle fired and low fired categories. Those high fired glazes are fired in temperature of 1200 degrees centigrade. Middle fired ones in around 1000 degrees centigrade. Low fired at approximately 800 degrees centigrade. Flambe glazes are produced in temperature above 1200 degrees centigrade.
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« Last post by GeorgeI on March 01, 2021, 01:52:48 am »
Shiwan Ceramic Eighteen Lohans / Arhats  1 ) Shiwan Ceramic Deer-Sitting Lohan: Pindola the BharadvajaSitting dignified on a deer as if in deep thought. With perfect composure, contented with being above worldly pursuits. Pindola the Bharadvaja, from a high caste Brahmin family, was formerly a powerful government official in an Indian kingdom, highly trusted by the king. One day he suddenly decided to become a Buddhist monk and, not wanting to hear any entreaties from the king, he left to join a monastery deep in the mountains. One day, he appeared in front of the palace, riding a deer. Recognizing him, the royal guards immediately reported to the king who came out to receive him. The king told him that he could have the position back if he wanted. Bharadvaja declined and said that he came back to ask the king to join him. After a long conversation, using various metaphors to explain the sins of the flesh and desires, he finally convinced the king, who abdicated in favour of his son and followed Bharadvaja to become a monk.  2 ) Shiwan Ceramic Happy Lohan: Kanaka the VatsaDecimating the demons, the universe now cleared. Hands raised for jubilation, be wild with joy. Kanaka the Vatsa was a well-known public speaker and debater of the Buddhist doctrines. When asked what is happiness, he would answer that it is experienced through the five senses. When asked what is bliss, he would reply that bliss is joy coming not from the five senses but from deep within, like feeling Buddha in his heart. He often wore a smiling countenance during debates and was famous for his preaching's in happiness, therefore he is called the Happy Lohan.  3 ) Shiwan Ceramic Raised Bowl Lohan: Kanaka the BharadvajaIn majestic grandeur, joy descends from heaven. Raised the bowl to receive happiness, glowing with jubilance and exultation. Kanaka the Bharadvaja was a Buddhist mendicant monk who used to ask for alms by raising his bowl. After he had attained enlightenment, he was called the Raised Bowl Lohan. The word alms bowl, was borrowed from Sanskrit, taking the first of the three syllables of the original word, because there was no such a word in Chinese. In the very beginning, the bowl was made of metal. Nowadays, however, the bowl is commonly found to be made of finely polished coconut shell halves or red beech wood. Its use, that of holding alms food, remains unchanged.  4 ) Shiwan Ceramic Raised Pagoda Lohan: NandimitraA seven-story pagoda, miraculous power of the Buddha. Forceful without being angry, with preeminent Buddhist might. According to legend, this lohan Nandimitra, the sweet one, was the last disciple of the Buddha. In memory of his dear beloved master, Nandimitra often carried a specially made pagoda with him, signifying that Buddha was always there, forever and ever. Before the introduction of Buddhism to China, there was no pagoda in the country. The Chinese had to create a new character, from the first syllable of the original Sanskrit word, to call this unique architectural structure. In Buddhism, the pagoda is a container for the Buddha's bones, and therefore, symbolizes the faith.  5 ) Shiwan Ceramic Meditating Lohan - NakulaQuietly cultivating the mind, a countenance calm and composed. Serene and dignified, to enter the Western Paradise. According to tradition, this lohan, Nakula or Pakula, was originally a warrior with immense strength. He gave up the life of fighting and killing to become a monk, finally attaining enlightenment through constant meditation. However, due to his former profession, he still exuded much physical strength even during meditation. In mythology, this lohan's sphere of influence extended through all of India, and was considered one of Buddha's favourite disciples. Occasionally, he is portrayed as a teacher, holding a string of Buddhist rosary with a small boy beside him.  6 ) Shiwan Ceramic Oversea Lohan: BodhidrumaBearing the sutras, Sail east to spread the world. Climbing mountains and fording streams, For the deliverance of the humanity. Bodhidruma in Sanskrit means virtuous and sagacious. It is also the name of a rare tree in India, the bodhi which has became famous and known as the tree of wisdom because Sakyamuni became enlightened under its shade. This lohan was born under such a tree and was given the name of Bodhidruma. Legend has it that Bodhidruma was responsible for spreading Buddhism to the East Indies. From India he sailed across the ocean to land on the island of Java, hence the name "Oversea."  7 ) Shiwan Ceramic Elephant-Riding Lohan: KalikaRiding an elephant with a dignified air, chanting aloud the sutras. With a heart for the humanity, eyes scanning the four corners of the universe. Kali in Sanskrit means elephant and kalika, an elephant rider, or a follower of kali. The elephant, for its immense strength and power, endurance and perseverance, symbolizes the Buddhist might. Kalika the lohan was an elephant trainer-turned-Buddhist monk who had earned sufficient merits to attain enlightenment. In memory of his former profession, he is often portrayed with an elephant.  8 ) Shiwan Ceramic Laughing Lion Lohan: VajraputraPlayful and free of inhibitions, the lion cub leaps with joy. Easily alternating tension with relaxation, rejoicing with all living things. Vajraputra literally means "man of cats." He was a lion hunter before he was converted to Buddhism. After he had attained enlightenment, a little lion came playfully to his side. The animal seemed to be grateful to him for giving up the life of killing lions, thus sparing its parents and brothers. Since then, Vajraputra and the little lion have become inseparable. The lion, with its earth-shaking roar, symbolizes the invincible might of Buddhism. Therefore, it is very common to find a pair of lions standing guard at the front gate of a Buddhist temple or monastery in China.  9 ) Shiwan Ceramic Open Heart Lohan: GobakaOpen the heart and there is Buddha, each displaying his prowess. The two should not compete, for Buddha's power is boundless. Gobaka was the prince of a minor kingdom in India. When he was made crown prince, his younger brother started a rebellion. But Gobaka assured his brother that he wanted to refuse the kingdom and become a monk because he only had Buddha in his heart. As proof, he exposed his chest and there indeed was a Buddha in his heart. The younger brother then believed him and stopped the rebellion. Gobaka became a monk. It is believed that Gobaka was the monk Shan Wu Wei, who arrived at Changan (today's Xi'an) during the Tang Dynasty in 716 A.D. Gobaka literally means 'man of heart', weak physically but strong of spirit.  10 ) Shiwan Ceramic Raised Hand Lohan - Pantha the ElderEasy and comfortable, yawning and stretching. In a state of omniscience, contented with his own lot. According to legend , Pantha the Elder was the prince of a small Indian kingdom called Kintota. When he became a monk, he liked to meditate in the half-lotus style. Upon waking up, he would raise his hands and let out a deep breath, hence the name Raised Hand. He was the elder brother of the Doorman Lohan. The two brother were both born while the mother was travelling, and were given a Sanskrit name which means "born on the road  11 ) Shiwan Ceramic Thinking Lohan: RahulaPondering and meditating, understanding it all. Above this world and free from conventions, compassion conveyed up to the Ninth Heaven Rahula is the Indian name of a constellation. In ancient India, it was believed that eclipses were caused by a star coming between the earth and the moon or the sun; blocking out the light. This lohan was born during a lunar eclipse and was given the name Rahula, the constellation that caused this phenomenon. Rahula was one of the Buddha's 10 favourite disciples, and was well-known for his meditative power. It is believed that he could become omnipotent and omniscient during meditation. When deep in thought, he was ruminating wisdom and action.  12 ) Shiwan Ceramic Scratched Ear Lohan: NagasenaLeisurely and contented, happy and knowledgeable. Full of wit and humor, exuberant with interest. His Sanskrit name is Nagasena, which means an army of dragons and symbolizes strong supernatural power. Nagasena was an eloquent speaker and debater. He was famous all over India for his preaching's on the "hear no evil" maxim. The senses of hearing is one of the six sources through which mankind become aware of the world. Therefore a practitioner of Buddhism should avoid listening to decadent sounds and in particular other people's secrets. Thus he is often portrayed as scratching his ear, a gesture symbolizing the purification of the sense of hearing in the search for peace and quiet.  13 ) Shiwan Ceramic Calico Bag Lohan: AngidaBuddha of infinite life, valuable bag containing secrets of heaven and earth. Happy and contented, cheerful and joyful is he. According to legend, Angida was an Indian snake-catcher whose aim was to prevent the snakes from biting passers-by. After the snakes were caught, he would remove the venomous fangs and then release them in the mountains. It was due to this kindness of heart that Angida was able to attain enlightenment. He carried a bag to put the snakes in. He is supposed to have appeared in Fenghua in Zhejiang Province in 907 A.D. as a mendicant monk carrying a bag. He was seen for the second time in China in 917 A.D., preaching on a rock next to the Yuelin Temple.  14 ) Shiwan Ceramic Plantain Lohan: VanavasaCarefree and leisurely, disdainfully regards the Great Void. With celestial airs and religious spirit, transcending this mortal world. According to legend, he was born during a heavy downpour, and the plantain trees in his back garden were rustling noisily. Thus he was named Vanavasa, which means rain in Sanskrit. Later on he became a Buddhist monk, finally attaining enlightenment. Because he liked to meditate under a plantain tree, he is called the Plantain Lohan. In mythology, he is supposed to have been stationed on the Ko-Chu mountain with 1,400 lesser lohans. He is sometime shown meditating in a cave with eyes closed and hands folded over his knees.  15 ) Shiwan Ceramic Long-eyebrow Lohan: AsitaCompassionate elder, a monk who has attained enlightenment. Perceptive of the infinite universe, with tacit understanding. "Asita" in Sanskrit means incomparably proper, or of correct proportions in spirit and physique. According to legend, Asita was born with two long white eyebrows. The story was that in his previous life he was a monk who, though having tried very hard yet could not attain enlightenment even at a ripe old age, and had only two long white eyebrows left. After his death he reincarnated as a human being again. After he was born, his father was told that Shakyamuni Buddha also has two long eyebrows, therefore his son had the look of the Buddha in him. As a result, Asita was sent away to a monastery to become a monk, eventually attaining enlightenment.  16 ) Shiwan Ceramic Doorman Lohan: Pantha the YoungerPowerful, husky and tough, watching with careful alertness. With the Buddhist staff in hand, Valiantly annihilates the evil. According to legend, this lohan, also known as Pantha the Younger, was one of Buddha's favourite disciples. When he went alms-begging he would bang on people's doors. One time he did that, the old and rotten door fell apart, and he had to apologize to the owner of the house. So Buddha gave him a tin staff and told him, "When you go alms-begging, you don't have to bang on people's doors any more. Just tap this staff. If the people inside want to give you alms, they will come out." The tin staff had several rings on it and made a light noise when tapped. The tin staff has become the symbol of this lohan.  17 ) Shiwan Ceramic Taming Dragon Lohan - NantimitoloIn the hands are the spiritual pearl and the holy bowl, endowed with power that knows no bounds. Full of valour, vigour and awe-inspiring dignity, to succeed in vanquishing the ferocious dragon. His Sanskrit name is Nantimitolo. Nanti means happy, and mitolo, friend. Together the name means happy friend. He is called the Taming Dragon Lohan for a brave act he performed. In ancient India, the people of a small kingdom, after being incited by a demon, went on a rampage against the Buddhists and monasteries, stealing the Buddhist sutras. The king of the undersea flooded the kingdom and rescued the sutras, which he put in his palace. Nantimitolo subdued the dragon guard and restored the sutras back to earth. Hence he is called the Taming Dragon Lohan.  18 ) Shiwan Ceramic Taming Tiger Lohan: PindolaPrecious ring with magical powers, infinitely resourceful. Vigorous and powerful, subduing a ferocious tiger. Pindola was a Brahmin and a general. Because he was devoted to Buddhism, which forbids killing, he was ordered by the king to become a monk. He joined a monastery in the mountains where he could hear a tiger howling every day. He said that the tiger was probably hungry and should be fed some vegetarian food. Otherwise the tiger might become a man-eater. So Pindola collected food from the monks and put it in a bucket which he left outside the monastery. The tiger did come for the food every night. After a period of time, the tiger was tamed. Thus Pindola was referred to as the Taming Tiger Lohan. https://tinyurl.com/3fxss5r9
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« Last post by GeorgeI on February 28, 2021, 01:25:07 am »
The Life Like Characteristic of Shiwan Pottery SculptureShiwan Wares, Exhibition Catalogue, Zhuang Jia tinyurl.com/10i4f46uWhen people come to talk about the art of Shiwan pottery sculpture of Shiwan, it is only natural that they should praise its lifelike characteristic. In South China, especially in the province of Guangdong, the natives cherish a deep affection for the Shiwan figurines in the same way as the Guangdong opera is sought after by the natives of Guangzhou. They regard the ceramic sculpture of Shiwan as a form of art which can represent our nationality, the masses of people and the local flavor. Thousands of years have gone and passed, the flower of Shiwan ceramic sculptural art has lived through its time, and passing on from generation to generation, Shiwan figurines have become a folk art which has won universal praise and love. The art of Shiwan pottery sculpture appeared much later than the manufacture of local household ceramics. Nowadays preliminary diggings in the sites of ancient kilns around Damao Hill, Heyan and Qishi in Shiwan have proved that pottery wares have been produced in large quantities since the Tang Dynasty. But it was not until the Ming Dynasty that the pottery art had reached its maturity and attained some development. By the late Ming and early Qing Dynasties, the Shiwan pottery art had reached the golden age brimmed with a galaxy of artistic potters. From this time onwards, the art pottery have stirred up great admiration from people both in and outside China and they all love the lifelike characteristic of its art. The works are valued by museums and collectors all over the world and are sought for collection and display. How, indeed is this lifelike characteristic of Shiwan pottery sculpture being formed ? The lifelike characteristic of Shiwan pottery sculpture is the result of generations of hard work in the sphere of art by the potters. It can not be separated from the fact that potters are placing great emphasis on absorbing fresh nourishment from real life during their practice of art. Besides, the potters effort in inheriting and carrying out the splendid cultural, and artistic traditions of our country. Their perseverance in sticking to the creative method of thinking in terms of images which combines realism and romanticism together also count for much. It is because of the source that water keeps on running, it is because of the roots that trees flourish luxuriantly. In the same way only real life is the source of artistic and drawing on the splendid cultural heritage of the older generation for reference is the flow. With the source and the flow, the long stream of historical and artistic practice would surge forward, one generation after another. The Shiwan potters of all generations all place great emphasis on absorbing fresh nourishment of artistic creation from the everyday scene. They regard imitation of Nature as the foremost pre-requisite of artistic creation. For a long time they have been living in a half industrial and half agricultural place like Shiwan town which is somewhat a city and a village. They can come into contact with the life of the people directly. In fact the majority of the Shiwan potters are the laboring people. They therefore know clearly the likes and dislikes of the people, their yearnings and what they like to see and hear. When we open the door of the storehouse of Shiwan pottery sculptural art to have a look, we can at once perceive a strong local flavor. The many images in the postures of fishing, woodcutting, farming and reading are vivid and lifelike, with much varieties. These all due to the fact that the makers are all acquainted with this sort of life. They always merge the images of their own family members into their works. Their works are therefore true to life and have the power of touching people to the heart. All through the ages the Shiwan potters have sculptured a large quantity of figures like "reader on ox back", Li Bai, Du Fu, Zhang Liang politely presenting the shoe, the seven wisemen of the Bamboo Grove etc. which reflect the yearning of the laboring people towards science and culture. They have also created a large number of heroic characters like Lu Zhishen, Li Kui, Su Wi, tending the sheep, the bearded hero and Li Jing, Wu Song fighting the tiger etc., who are all people dedicated to a just cause. They have also made a lot of Shiwan pottery oxen, horses, pigs, goats, chickens, dogs, cats and rabbits which reflect the love of the laboring people for their fruits of labor. The range of subjects can be very wide, not necessarily confined to one area, even those figures of arhats and Buddha which artistic shapes have already been standardized and stylized a long time ago can be sculptured with an original touch of domestic flavor. Why is this so? The simple fact is that everyday scene is at the back. "You have to use the contemporaries for reference before you can act the ancients". This is the common artistic knack of the potters. The contemporary Shiwan potter Liu Chuan has created an object of art known as "abandoning the official rank in search of mother" before the Liberation, Shou Chang, the hero of the story kneels before his old mother, her soft and stuck up chin in which all the teeth have been shed, the many wrinkles on her face all combine to form a doddering and senile bearing. This image seems familiar, how is it inspired? It turned out that she is the old woman living next door to Liu Chuan, Granny San. The sculptor has condensed and extracted an artistic image through this substantial image of a person. No wonder it is so lifelike and vivid, for it has its source. As for the Shiwan ceramic figures of animals, they can also be said to be distinguished works of art. Most of them are excellent likenesses of their originals. Of them the most outstanding one is the traditional lion. This kind of Shiwan pottery work has been given the artistic image of personification by the masses of artisans. The lion looks neither like a lion nor like a dog, it has been personified. The many forms of the lion, some like laughing old men, some like naughty children, some like meditating elegant scholars, some like crude rough fellows are far more than mere symbols of Liu, Guan and Zhang. The movements of the lion too, also have much varieties. The ten movements in the fold lion dance, sleeping, awaking, displaying vigor, showing violence, demonstrating fierceness, steadying coaxing, stepping, eating and swallowing have all been fully expressed in it, so that when you look at it, you would be much amazed and delighted by its likeness in spirit. The above said has made one thing very clear, and that is lifelikeness comes from life. This is the first reason why Shiwan pottery sculpture is so lifelike. The second reason is because the Shiwan potters who want to create lifelike works have not only paid attention to the imitation of Nature in real life, but they also place great emphasis on the imitation of the ancients. This means learning from our splendid cultural heritage. The inheriting of our splendid cultural artistic tradition should include these of all nationalities and all ages. But first of all we should learn from the distinguished cultural heritage of our own country and our own nationality, have a brilliant cultural heritage of over five thousand years. This is a very good reference for artistic creation, and lifelikeness is the common characteristic of the literature and art of our country. This distinguished tradition is reflected in the spheres of such artistic categories like literature, poetry, drama, folk, legends, traditional painting, crafts and art. The Shiwan pottery in history are placing great emphasis on an working hard to learn from the lifelike creative method of similar art forms. The third reason is that the masses of Shiwan potters in history all insist on the method of creating images which combines realism and romanticism together. Although the Shiwan potters of older generation might not have know the above terms, practice proved that they were engaged in artistic creation in this way consciously and unconsciously. The real great artist must base on real materials synthesizing and creating from typical images of typical situations. Such process of creation can be termed as fabrication and thus the essence of artistic activities should also be romanticism. The artistic practice of Shiwan pottery sculpture in history is just like what Mr Guo has expounded. Although a minority of Shiwan potters have fallen into the set pattern of naturalistic artistic creation, the insistence on employing the creative method of thinking in terms of images which combines realism and romanticism together is still the main trend. The traditional creative method of Shiwan ceramic places much emphasis on the observation and tacit memorizing of real life, i.e., the original of art. Through attentive observation, the many originals of life would be impressed, on the mind, then they are exaggerated an refined into an artistic model. This creative method of thinking in terms of images is our habitual practice. During the long years of artistic practice, the Shiwan potters have accumulated quite a wealth of valuable creative experiences. These experiences are the good recipes of making lifelike pottery sculptures. Among them is the method of artistic exaggeration used in extracting images, exaggerate from the realistic basis without overdoing it. There are four principles of exaggeration. It should abide by the real object intended It should abide by the need of the theme It should abide by the sense of beauty It should abide by the demand of visual sense There are pithy formulas that summarize the common points of the artistic images Scholars are tall and military men are short. Heroes have no necks and beauties have no shoulders. Heroic character, he should be seven chi tall, has a square face which is thick skinned and regular features which are well chisseled. For a man of letters High eye brows Broad forehead and front Prominent forehead and cheek bones For a negative character Triangular face Narrow forehead Curly hair Bridged nose Thin lips Pale complexion and bulky cheeks For grasping the artistic plot to build up a climax and to shape artistic which give on much food for thought, there are formulas like, more fitting to initiate than to suspend, more fitting to be subtle than to be plain. There are formulas which are used for employing art to express the pattern of contrast and harmony, such as a grain of impidness in a mass turbidness, a grain of turbidness in an expense of limpidness ( which means a face should not be all ugly or all beautiful ) and strange but not absurd, ugly but not repulsive. There are three ways in portraying typical images figuratively. To establish a proper ratio To highlight the emphasis To pay more effort in featuring All in all, there are ample experiences in the molding of lifelike Shiwan pottery sculptures in the Shiwan tradition, and all these creative experiences are centered around a common goal, to make the works lifelike.
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« Last post by GeorgeI on February 26, 2021, 09:41:15 pm »
This color of Shiwan ceramic glazes within the skin area is unusual. In the few Shiwan ceramic books I have there are no examples with this mix of greyish/green and yellow glazes for skin areas. I did finally find one close with shades of greyish and yellow skin that also shares a similar mix of the browns throughout. 
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« Last post by GeorgeI on February 26, 2021, 05:26:52 am »
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« Last post by GeorgeI on February 25, 2021, 12:52:07 am »
Shiwan ceramic Sun God.. Both this Shiwan ceramic Sun God and the Moon Goddess above are on the roof of a temple at Cheung Chau 
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« Last post by GeorgeI on February 24, 2021, 09:57:17 pm »
Shiwan Ceramic Budai arrived today  9 1/2" tall Shiwan ceramic Laughing Budai, known as Hotei or Pu-Tai, receiving his hexagonal bamboo fan from a boy attendant. Almost all scholars, old men, divinities are attended by young boys who carry their wares. I believe the fan symbolizes the status and power of the user. His green and yellow glazed bag represents the problems all people encounter in life and serves as a prominent motif within the context of Zen Buddhism as it represents abundance, prosperity, and contentment. Sculpted biscuit, with brushed, multi fired glaze configurations varying from blue to almost purple flambe, with black, browns and wheat/yellow celadon glazes. The child's face and head in an opaque white ( moon ) glaze. Budai's skin is a mottled mix of green/grey/light brown glazes. With celestial auspicious emblems throughout. Late 19th to Early 20th. 
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