Cizhou, Ding, Jun, Ru, Longquan, Jian — six kilns, six materials, one century.
Each opens a door onto the Journals to come.
Meiping vase with floral decoration, Jin dynasty (1115–1234), Cizhou stoneware painted in black on white slip. The Metropolitan Museum of Art, acc. 23.180.1. CC0.Ding bowl with metal-rimmed bare lip, incised with reeds and geese, Northern Song dynasty (960–1127), porcelain with ivory glaze. The Cleveland Museum of Art, acc. 1917.383. CC0.Pillow with child on a hobby horse, Zhang workshop, Jin dynasty (12th–13th century), Cizhou stoneware painted in black on white slip (báidì hēihuā白地黑花). The Metropolitan Museum of Art, acc. 60.73.2. CC0.Pillow base in the form of a young child, Northern Song dynasty (960–1127), Ding porcelain with ivory glaze. The Metropolitan Museum of Art, acc. 1991.253.15. CC0.Ding bowl of “Xing type”, on a disc-shaped foot, Five Dynasties (907–960), porcelain with ivory glaze and near-white body. The Cleveland Museum of Art, acc. 2020.186. CC0.Wenhui tu文會圖, “literary gathering”, attributed to Emperor Huizong, Northern Song dynasty, early 12th century, ink and colors on silk, painted scroll. National Palace Museum, Taipei, acc. 故畫000836. CC-BY 4.0.Jun bowl, Northern Song dynasty (960–1127), stoneware with lavender-blue glaze splashed with copper purple. The Metropolitan Museum of Art, acc. 20.45. CC0.Longquan tea bowl, Southern Song dynasty (1127–1279), stoneware with celadon glaze, repaired with gold lacquer (kintsugi). The Metropolitan Museum of Art, acc. 16.122.5. CC0.Ru narcissus basin, one of the Five Great Kilns, Northern Song dynasty, late 11th–early 12th century, porcelain with blue-green glaze (qīng青). National Palace Museum, Taipei, acc. 故瓷014019. CC-BY 4.0.Jian tea bowl with “hare's fur” markings (tùháo兔毫), Southern Song dynasty (1127–1279), stoneware with iron-rich black glaze streaked with russet. The Cleveland Museum of Art, acc. 1948.206. CC0.
With each fragment, a letter on the table.
With each fragment we publish, a long-form read on Chinese ceramics
and mosaics. No fixed schedule:
the letter follows the fragment, never the other way around.
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