10th-11th century
An accurate assessment of the state of this bowl, “damaged but all original,” appears in a note in Calderwood’s handwriting pasted inside the foot ring. On the exterior, the bowl has lost much of its glaze and slip-painted decoration. Most of the present interior decoration is overpainting, but the remaining original surfaces provide evidence that the restorer has reconstructed the design with reasonable accuracy. The outermost inscription, in red, could be read as al-yumn (felicity). At the center, a band of braided strapwork encircles an elaborate composite motif of a diamond-shaped flower with four coiling arms that terminate in red disks and black trefoils. The reddish ceramic fabric was originally covered in a whitish slip and decorated in red, purplish black, and olive green. Straight, flaring walls rise from a low foot ring, which is covered in slip but unglazed.
11.7 x 34.4 cm (4 5/8 x 13 9/16 in.)
[Mansour Gallery, London, 1971], sold; to Stanford and Norma Jean Calderwood, Belmont, MA (1971-2002), gift; to Harvard Art Museums, 2002.
Numbered Jun ware: light gray stoneware with variegated blue glaze with areas of purple; with Chinese numeral 9 (jiu) inscribed on base before firing
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20th centuryGermanCast bronze with integrally cast intaglio archaistic mark
19th centuryChineseMedium gray stoneware with incised and carved decoration
5th-6th centuryKoreanTerracotta
5th century BCESouth ItalianNorthern black ware of Cizhou type: off-white stoneware with dark brown glaze, the markings in overglaze iron oxide
12th centuryChineseSilver
18th centuryBritishLead-glazed funerary ware: molded brick red earthenware with emerald green, lead-fluexed glaze
1st-2nd century CEChineseSilver
17th-18th centuryAmerican
Porcelain
20th centuryAmericanBlue-and-white ware: porcelaneous white stoneware with decoration painted in underglaze cobalt-blue
15th centuryVietnameseTerracotta
19th centuryGreek