New Forms - Song/Yuan

New Forms – Song/Yuan

Littleton & Hennessy Asian Art


Littleton & Hennessy Asian Art

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Published by Littleton & Hennessy Asian Art

28 October – 5 November 2021

INTRODUCTION


It is with a renewed sense of hope and excitement that we approach this

autumn edition of Asian Art in London. The past two years have presented

huge obstacles and change to all members of the art world and for most of

these we have shown our collective resolve to overcome and adapt.

The one over-riding loss through these two years both in our business

and personal lives was our inability to meet with our family, friends,

and colleagues in person. No amount of Zoom calls or social media can

replace the most basic element of what we love about our industry, which

is sitting down with someone who shares our passion for Asian art and

just simply having a chat.

With this in mind, we again look forward to welcoming all our friends

from the collector, dealer and auction worlds to London.

Richard Littleton

James Hennessy

Mark Slaats

1A YAOZHOU CARVED CELADON ‘LOTUS’ DISH

Northern Song dynasty, 960-1127

耀州窯青釉刻蓮紋盤 ( 北宋 960-1127)

Dimensions: 18.4 cm diameter

Provenance: - Sotheby’s London, 11 December 1990, lot 230

- Sotheby’s New York, ‘Harmony of Form, Serenity of Color: A

Private Collection of ‘Song’ Ceramics’, 23 March 2011, lot 524

The sides of the dish flaring to an upturned rim. The center of the interior

elaborately carved with a lotus bloom and a large leaf on a scrolling stem.

Covered overall in a deep, olive-green glaze, thinning around the rim and

pooling around the deeper parts of the carved decoration. The foot and base

left (partially) unglazed.

2

A SMALL JIZHOU JAR WITH TORTOISESHELL GLAZE

Southern Song dynasty, 1127-1279

吉州窯玳瑁釉小罐 ( 南宋 1127-1279)

Dimensions: 7.5 cm high

Provenance: - Purchased from Oriental Arts UK, March 2003

- A private English collection

Published: - Oriental Arts UK, Asia Week New York 2003, no. 24, p. 21

The deep sides rising from a flat unglazed base to a short waisted neck with rolled

lip, covered with a rich dark brown glaze mottled with buff glaze shading to a milky

blue on the exterior. The interior with amber mottling.

Compare a slightly larger example from the Arthur M. Sackler Museum, Harvard

University Art Museums, Ernest B. and Helen Pratt Dane Fund for the acquisition

of Oriental Art [1991.227] illustrated in R. Mowry, Hare’s Fur, Tortoiseshell

and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400,

Massachusetts, 1996, p. 229.

3

A SMALL CELADON BOTTLE VASE

Yuan dynasty, 1279-1368

青釉貫耳瓶 ( 元 1279-1368)


Provenance: - Spink & Son Ltd., London, acquired on 18th April 1997

(with receipt)

- A private collection in South West England

A rare celadon vase of pear shape, the spherical body under a long, waisted neck

with tubular handles. The rim with two incised lines to the exterior, the foot

narrow and inverted, overall with a pale olive-green glaze. The base rim unglazed

to reveal an orange-buff coloured body.

For a similar example, see G. St. GM Gompertz, Chinese Celadon Wares, pl. 87.

4

A SMALL HENAN-TYPE PERSIMMON-GLAZED BOWL

Song Dynasty, 960-1279

河南系柿釉小盌 ( 宋 960-1279)


Provenance: - Formerly in the collection of Sir Herbert Ingram, Bt. (1875-1958)

- Sotheby’s London, 15 May 2007, lot 214

The unusual bowl of shallow flattened form, the delicately potted sides rising

steeply from a flat base. Overall covered in a vibrant russet glaze. The rim bound in

copper. The base and shallow foot left unglazed.

5

A SMALL DING CARVED BOWL


定窯白釉刻花紋盌 ( 北宋 960-1127)

Dimensions: 9.2 cm diameter, 3.8 cm high

Provenance: - Spink & Son Ltd. (London)

The delicately potted bowl has deep, rounded sides and is raised on a small, short

circular foot. The interior is beautifully carved with a leafy stem leading to a large

flower. The inside and outside of the bowl are covered with an ivory-coloured glaze

continuing over the foot onto the flat base, the rim wiped clean and left unglazed.

Compare an almost identical bowl illustrated in Eskenazi, ‘Song: Chinese Ceramics,

10th to 13th Century’, Asian Art in London 2018, no. C5056. For similar bowls,

see Christie’s New York, 19 September 2014, lot 728 and a slightly larger (10 cm

diameter) illustrated in R. Krahl, Chinese Ceramics from the Meiyintang Collection,

vol. 1, London, 1994, pp. 204-5, no. 361.

6

A LONGQUAN LOBED CELADON BRUSH WASHER

Song dynasty 960-1279

龍泉青釉葵瓣洗 ( 宋 960-1279)


Provenance: - Purchased from Littleton & Hennessy Asian Art, no. 1181

- A private American collection

The hexafoil brush washer of slight angular profile supported on a short tapering

foot. The exterior with two concentric ribs and overall covered in an even, pale

celadon glaze thinning around the rim and ribs. The foot left unglazed to reveal

the buff coloured body.

Compare a washer of similar hexafoil form without the foot, sold at Sotheby’s

London, 12 May 2010, lot 29.

7

A CIZHOU ENGRAVED ‘MEIPING’


磁州窯白釉刻花梅瓶 ( 北宋 960-1127)

Dimensions: 40 cm high

The main section of the stoneware body carved with lotus blooms on a plain ground,

above a smaller band of leaves issuing from the slender and slightly flared foot. The

broad, plain shoulders tapering to a waisted neck with a galleried rim. The foot and

base of the vase left unglazed to reveal the buff-coloured body.

Vases of this shape are generally referred to as a prunus vase or meiping. However,

it is likely that it was originally intended to contain rice wine, used both for storage

purposes or for transportation over longer distances.

The term ‘Cizhou’ is freely used in the literature for pieces with applied slip

designs, produced in a wide variety of kilns, particularly in Hebei and Henan. The

most important is the Cizhou-type site at Guantai in Cixian or Ci county in the

southernmost part of Hebei province in the region formerly called Cizhou. These

kilns created a wide variety of wares, forms and decorative styles, but they were

particularly known for their freely carved and painted decoration, as can be seen on

this rare Meiping.

8

A JIANYAO ‘HARE’S FUR’ TEA BOWL


建窰黑釉兔毫盞 ( 南宋 1127-1279)





The conical bowl with indented lip, covered inside and out with a blue-black glaze

streaked with silvery russet ‘hare’s fur’ markings, thinning to a dark brown at the rim

and pooling in drips above the unglazed foot ring.

A similar example from the collection of Diane H. Schafer is illustrated in R.

Mowry, Hare’s Fur, Tortoiseshell and Partridge Feathers: Chinese Brown- and Black-

Glazed Ceramics, 400-1400, Massachusetts, 1996, pl. 82, p. 218-219.

9

A LONGQUAN GUAN-TYPE CENSER

Southern Song/Yuan dynasty, 13th/14th century

龍泉窯青釉仿官釉炉 ( 南宋 / 元 13/14 世纪 )


Provenance: - A private collection in the south of England

The censer or flower-pot-stand raised on five cloud-like feet, with five raised bosses

on the rim. Overall covered in a thick blueish-green glaze with a fine icelike crackle.

Compare a Ge-type censer or flower pot of identical shape dated to the Yuan dynasty

in the Percival David Collection, Museum number PDF A.40.

10

A JIZHOU BOWL WITH BLOSSOMS


吉州窯褐釉梅枝紋盌 ( 南宋 1127-1279)

Dimensions: 12 cm diameter


- A private Hong Kong collection


The slightly rounded conical bowl with a silhouette of a stylised plum blossom to

the interior on a chocolate and mottled blue ground shading to a rich and amber

on the central and exterior rims. The exterior with a deep brown glaze covered with

opaque buff drops simulating tortoise shell.

A JIZHOU BOWL WITH ABSTRACT DECORATION

11 Southern Song dynasty, 1127-1279

吉州窯黑釉褐斑盌 ( 南宋 1127-1279)





The conical bowl with indented lip covered overall with a deep chocolate and black

glaze, the interior with central stylised design of buff glaze running to a milky blue

at the edges.

12

A CONICAL DINGYAO BOWL


定窯白釉笠式盌 ( 北宋 960-1127)

The rounded conical sides rising from a low foot toward a straight rim. The interior

of the bowl left plain to reveal an evenly applied ivory-coloured glaze. The foot ring

left unglazed to reveal the white body of the bowl.


Provenance: - Formerly in the collection of Sir Herbert Ingram, Bt.

(1875-1958), collection number R.965

13

A SMALL QINGBAI STEM DISH

Song dynasty, 960-1279

青白釉小盤 ( 宋 960-1279)

Dimensions: 10 cm diameter, 2.8 cm high

Provenance: - Formerly in the collection of Lord Cunliffe. The Rt. Hon.

Rolf, 2nd Baron Cunliffe of Headley (1899-1963),

collection number YC14

- Bonhams London, ‘The Cunliffe Collection of Chinese

Ceramics and Jade Carvings’, 11 November 2002, lot 24

The delicately shaped dish has shallow sides, rising to a rounded and everted rim.

The dish is raised on a short foot and covered with an even pale blueish-green

glaze.

14

A YAOZHOU HEXAFOIL DISH


耀州青釉葵瓣盤 ( 北宋 960-1127)


Provenance: - John Sparks Limited London, acquired in 1958


The thinly potted dish divided into six lobes, the sides rising from a flat base.

The exterior of the dish incised with a concentric circle. The body covered with

a celadon glaze of olive-green tone; the foot left unglazed.

15

A BLACK CIZHOU-TYPE JAR

Northern Song/Jin dynasty, 960-1234

黑釉瓜楞罐 ( 北宋 / 金 960-1234)


Provenance: - Sing’s Antique Gallery, Hong Kong

- Purchased from Oriental Arts UK, March 2003



Two small loop handles to the sides below the wide rolled mouth. The jar is covered

overall with a rich, black glaze shading to golden amber at the edges and in the

interior.

Oxford Authentication TL-test number P102j48 is consistent with the dating of

this piece.

The deep rounded sided with vertical lobes rising from an unglazed splayed foot.

16

A RARE RETICULATED LONGQUAN CELADON

PEAR-SHAPED VASE ‘YUHUCHUNPING’, WITH

INCISED DECORATION


龍泉青釉鏤花玉壺春瓶盒日本製 ( 元 1279-1368)


Provenance: - A private Asian collection

This extremely rare, double walled jiazeng linglong vase is superbly potted, the

pear-shaped body rising to a long, slender neck. The main section of the body

pierced with a band of peonies, revealing the inner vase. The body further divided

into bands of upright leaf lappets and floral scrolls. The mouth rim is delicately

carved with a geometric band. The vase is covered overall with a deep, olive-green

glaze; the foot left unglazed.

With Japanese fitted box.

Openwork vases were extremely difficult to produce, requiring immense technical

ability. As a result, very few Longquan vases of this type exist. Compare a similar,

albeit smaller example offered at Christie’s HK in the ‘Imperial Sale’ on 1 June

2016, lot 3314. Another example was sold at Sotheby’s London, 7 November

2012, lot 221. A reticulated Longquan Meiping is

illustrated by Priestley & Ferraro Chinese Art

in ‘Longquan Celadon – Southern Song

to Early Ming’, Spring 2006, no. 13.

17

A JIAN-WARE ‘HARE’S FUR’ BOWL


建窯兔毫盞 ( 南宋 1127-1279)


Provenance: - Spink & Son Ltd.

The bowl covered in a black and brown glaze, finely streaked on the inside and outside

with russet ‘hare’s fur’. The glaze pooling in an irregular line around the foot,

exposing the light brown body. The foot and base of the bowl left unglazed.

18

A CIZHOU PAINTED GLOBULAR JAR

Northern Song/Jin dynasty, 960-1234

磁州窯白地黑花枝葉紋罐 ( 北宋 / 金 960-1234)




Published: - Oriental Arts UK, Asia Week New York 2003, no. 28, p. 24.

The globular body of this rare jar with everted rim, rising from an unglazed

splayed foot. Covered overall with a warm ivory-tinged slip, with dramatic black

slip-painted leaves, the details crisply incised.

Compare an almost identical jar, formerly in the collections of Wang Yuan,

Beijing and Bertram S. Boggis, New York, sold at Parke-Bernet Galleries Inc.,

New York, 16-17 October 1958, lot 294.

19

A SMALL CARVED YAOZHOU BOWL


耀州窯青釉刻蓮花紋盌 ( 北宋 960-1127)


Provenance: - Sotheby’s Hong Kong, 29 October 1991, lot 5

- Sotheby’s New York, ‘Harmony of Form, Serenity of Color: A

Private Collection of ‘Song’ Ceramics’, 23 March 2011, lot 522

- A private European collection

Finely potted with delicately rounded sides curving inward to a wide mouth with

a scalloped neckline. The body of the bowl freely carved with leafy sprays, covered

overall with a deep, olive-green glaze. The foot left unglazed to reveal the orangebuff

coloured body.

A SMALL QINGBAI LOBED BOX AND COVER, MOULDED

21 IN THE SHAPE OF CHRYSANTHEMUM PETALS WITH

A WORKSHOP MARK READING ‘LI JIA HE ZI’


青白釉菊瓣蓋盒李家盒子款 ( 宋 960-1279)


Provenance: - A private English collection, acquired in Indonesia in the 1970s

The small Qingbai box of compressed circular drum shape. The cover and the

bottom with multi-lobed sides in the shape of chrysanthemum petals, both

with a raised band around the rim. The top of the cover left undecorated. The

base with an incised workshop mark. The box is covered in a pale, translucent

blueish-white glaze.

Compare a nearly identical, slightly lower Qingbai porcelain box of the same

shape and diameter, excavated from the Hutian kiln in Jingdezhen between 1988

and 1999, now in the collection of the Jingdezhen Museum of Civilian Kiln.

Another larger, but in terms of design closely comparable, Qingbai box is in

the Yuegutang collection in Berlin, illustrated in ‘Yuegutang – A Collection of

Chinese Ceramics in Berlin’, Krahl, R., Berlin, 2000, no. 205, p. 251.

20

A RARE SMALL MARBLED VASE ‘MEIPING’

Five Dynasties-Northern Song dynasty, 907-1127

絞胎釉梅瓶 ( 五代 - 北宋 907-1127)


The lower body rising to broad shoulders and a short neck with a slightly everted

rim. The vase is potted using twisted cream and dark-brown coloured clays spiralling

from the foot toward the rim of the vase.

Compare a much larger vase of similar shape with striated and interlocking decoration

from the Riu Xiu Lou Collection, sold at Sotheby’s London, ‘Important

Chinese Art’, 15 May 2019, lot 20.

Oxford Authentication TL-test no. C101y81 is consistent with the dating of

this vase.

22

A PAIR OF DING LOBED DISHES

Northern Song Dynasty, 960-1127

定窯白釉花口盤一對 ( 北宋 960-1127)


Provenance: - Victor Rienaecker Collection, no. 141

- Formerly in the Collection of Enid & Brodie Lodge

- Purchased at Halls Auctions, ‘Oriental and European Ceramics

to include the Brodie Lodge Collection of Oriental Ceramics

and Works of Art’, Shrewsbury, 1999, lot 35

The rare pair of delicately potted dishes of six lobed form, on the reverse with

subtle incised lines. The body is covered in an ivory-tinged glaze, leaving only the

outer edge of the rim unglazed.

Compare a slightly smaller, single dish exhibited at Mayuyama & Co., Ltd.,

illustrated in ‘An Exhibition of Song Ceramics 2018’, no. 88., p. 136. Another

pair of Ding dishes of similar form and slightly smaller in size dated to the

Northern Song dynasty was excavated in Kaesong city, southern North Korea.

They are now in the collection of the National Museum of Korea, illustrated in

Min, Hyŏngu etc., ‘Chinese Ceramics at the National Museum of Korea’, Seoul,

2007, no. 54, p. 132.

23

A LONGQUAN CELADON ‘TWIN FISH’ DISH


龍泉青釉雙魚紋折沿盤 ( 元 1279-1368)

See, Stacey Pierson, Designs as Signs: Decoration and Chinese Ceramics, London:

Percival David Foundation of Chinese Art, School of Oriental and African Studies,

University of London, 2001, p. 19.


Provenance: - A private English collection

- Purchased from Bamfords Auctioneers, Derby, in the early 2000s

- A private European collection

This type of dishes was produced in the Longquan kiln, Zhejiang province. The

sides of the dish carved with lotus petals, the interior with two fish carved in relief

swimming in opposite direction, thereby representing marital bliss. The dish overall

in a pale celadon glaze, the foot and base partially glazed.

Chinese art is abundant with the use of rebuses or visual puns in its design and

decoration. Pronounced yú in Chinese, the word for “fish” is a homonym for ‘surplus’

or ‘abundance’. The use of fish can therefore be interpreted as a wish to the viewer for

abundance in all things. The use of two fish, or shuangyú meaning ‘double fish’, as is

the case in this dish is a wish for abundance or great fortune to the owner.

24

TWO XINGYAO-TYPE SQUARE DISHES

Liao dynasty, 907-1125

邢窯白釉方口盤一組兩件 ( 遼 907-1125)

Dimensions: 12 cm wide




One moulded as a chrysanthemum bloom with highly defined leaves radiating

from a central flower forming the shallow and flaring sides of the dish, the other

moulded with a central medallion of a flying dragon and blossoming peony to each

of the four sides.

For a single, similar Lindong ware square dish see ‘Song Ceramics from the Kwan

Collection’, catalogue from the Hong Kong Museum of Art exhibition 22 July to

11 September 1994, pl. 193, p. 422.

Xing ware was produced in the Xing kilns in the northern province of Hebei. It can

be regarded as a predecessor of Ding ware. Rose Kerr discusses Xing ware in her

book ‘Song Dynasty Ceramics’: ‘The great fame of Xing ware rests in its designation

as the earliest true porcelain made in China, and hence in the world. […] Xing

wares are the whitest of early northern porcelains, both as regards body and glaze.’

(Kerr, R. Song Dynasty Ceramics, Victoria and Albert Museum Far Eastern Series,

London 2004, p40)

25

A SMALL BLACK-GLAZED CIZHOU-TYPE

‘OIL SPOT’ BOWL

Song/Jin dynasty, 960-1234

磁州系黑釉油滴盌 ( 宋 / 金 960-1234)


Provenance: - Formerly in an important Japanese museum collection,

by repute

The deep rounded sides of this bowl rising to a slightly inverted rim, supported

on a short, neatly finished and unglazed foot. The bowl is covered with a lustrous

black glaze decorated with delicate, silvery ‘oil spots’.

This type of decoration is achieved by applying an iron-rich slip to the stoneware

body of the bowl, before covering it with an iron-rich glaze. The glaze melts and

diffuses during firing, with an iron-rich layer surfacing to create the iconic oil

spot design.

Two similar bowls are illustrated in Robert D. Mowry, Hare’s Fur, Tortoiseshell,

and Partridge Feathers, Cambridge, MA., 1996, no. 43a & b, p. 148-9. The

author mentions that the present type of bowl is most likely made at Xiaoyu

cun kilns, Hauiren, Shaanxi, in imitation of the ‘oil-spot’ bowls made at the Jian

Kilns in Fujian which had naturally dark bodies.

26

A RARE MARBLED VASE ‘YUHUCHUNPING’

Five Dynasties-Northern Song dynasty, 907-1127

絞胎釉玉壺春瓶 ( 五代 - 北宋 907-1127)


The elegantly potted, pear-shaped body sitting on a short foot and rising to a slender

neck with flaring rim. The vase is expertly potted using twisted cream and darkbrown

coloured clays spiralling from the foot toward the rim of the vase.

This special marbling technique is called jiao tai (mixed clay) in Chinese. It was

achieved by twisting and kneading together cream and dark-brown coloured clays.

It allowed for a wide range of almost abstract, decorative possibilities.

This technique was first developed in the Tang dynasty and is believed to have been

inspired by marbled glass from the West that made its way to Han Dynasty, China

along the Silk Route. It continued to be used in the Song dynasty, with fragments

of marbled wares excavated from kiln sites in Henan province.

Compare another Song dynasty pear-shaped vase decorated to simulate marble in

the collection of the Museum of East Asian Art, Bath. A ‘Cizhou’ vase of similar

shape with applied pigments of black, brown and white to simulate marble was sold

at Sotheby’s Hong Kong, ‘Curiosity III’, 3 April 2017, lot 3043.

27

A CIZHOU GREEN-GLAZED PAINTED DISH


磁州窯綠釉纏枝花葉紋折沿盤 ( 宋 / 金 960-1234)


The rare dish incised and painted in an iron-black oxide with a blossoming peony

flower on a leafy scrolling stem. The rim of the dish also painted black, all under an

apple-green, slightly cracked glaze. The shallow foot and base left unglazed.

Examples of Cizhou green-glazed and iron-black wares are rare. Compare a vase

with similar incised ‘peony’ decoration, Bonhams New York, 15 March 2001, lot

83. Another fragmentary vase is illustrated in ‘Guantai Cizhou Yaozhi (The Cizhou

Kiln Site at Guantai)’, Beijing, 1997, pl. 70, fig. 1.

28

A PAIR OF SMALL CONICAL XINGYAO-TYPE BOWLS


邢窯白釉刻蓮紋小盌一對 ( 南宋 1127-1279)





The interior delicately moulded with two confronting lotus flowers among a

leafy meander. The straight sides of the exterior left undecorated, leading up

from a small, unglazed foot ring.

For a larger example of a single bowl, see ‘Song Ceramics from the Kwan

Collection’, Catalogue from the Hong Kong Museum of Art exhibition, 22 July

– 11 September 1994, pl. 129, p. 294.

29

A CARVED QINGBAI ‘BOYS’ RECTANGULAR PILLOW


青白釉童子圖瓷枕 ( 北宋 960-1127)

Dimensions: 19.7 cm long, 15 cm high, 15 cm wide

Provenance: - A private American collection

- Andrew Kahane, Ltd.

The rectangular pillow with delicately rounded sides. One narrow side with four

spur marks and a ventilation hole from firing in the kiln. The sides delicately carved

to reveal a boy amidst foliage, set against a fish-roe ground, all covered with a pale

greenish-white glaze.

Compare a pillow of similar shape with straight edges, sold at Christie’s Hong Kong,

‘The Pavilion Sale’, 4 October 2016, lot 116.

30

A DING LOBED BOWL


定窯白釉花口盌 ( 宋 960-1279)


The bowl rising from a short tapering foot to the hexagonal lobed sides. The interior

is left uncarved to reveal an ivory glaze with characteristic pooling into a deeper tone

in the recesses. The edge of the rim left unglazed.

The lobed form of this bowl is almost certainly derived from metalware from the

period. Compare a pair of silvery metal petal-lobed dished dated to the Song Period,

formerly in the Dr Johan Carl Kempe Collection, sold by Christie’s New York,

‘Masterpieces of Early Chinese Gold and Silver’, 12 September 2019, lot 585.

31

A JIZHOU-TYPE BOTTLE

Jin dynasty, 1115-1234

吉州窯墨綠釉褐斑瓶 ( 金 1115-1234)






The bottle of robust ovoid form with short neck and ringed mouth. Overall

covered with a greenish-black glaze mottled with warm amber flecks.

Oxford Authentication TL-test number P102j49 is consistent with the dating

of this piece.

32

A JIZHOU TORTOISESHELL-GLAZED BOWL

WITH SILVER RIM

Southern Song dynasty 1127-1129

吉州窯玳瑁釉銀邊盌 ( 南宋 1127-1129)


Provenance: - A private Hong Kong collection

The delicately potted bowl flaring out from a short, flat foot, covered overall with a

deep dark glaze, interspersed with streaks of café-au-lait and almost orange colour.

The base left unglazed to reveal the buff-coloured body.

Compare a bowl of similar shape with splashed tortoiseshell decoration, sold by

Sotheby’s Hong Kong, ‘Contemporary Literati – A Gathering’, 7 April 2014, lot

3624.

33

A CIZHOU-TYPE GUAN


磁州窯黑釉花枝紋罐 ( 宋 / 金 960-1234)






The Guan of robust form, the shoulder painted with iron oxide depicting two

graceful flower sprays in silvery charcoal against a ground of black glaze, thinning

to a rich brown at the short, wide rim.

Oxford Authentication TL-test number P102j47 is consistent with the dating

of this piece.

THE CHRONOLOGY OF CHINA

中國歷代年表

新石器時代 NEOLITHIC PERIOD

c.6500-1700 BC

夏 XIA DYNASTY c.2100-1600 BC

商 SHANG DYNASTY

c.1600-1100 BC

周 ZHOU DYNASTY c.1100-256 BC

西周 Western Zhou c.1100-771 BC

東周 Eastern Zhou 770-256 BC

春秋 Spring and Autumn Period

770-476 BC

戰國 Warring States Period

475-221 BC

秦 QIN DYNASTY 221-206 BC

漢 HAN DYNASTY 206 BC-AD 220

西漢 Western Han 206 BC-AD 8

新王莽 Xin (Wang Mang Interregnum)

AD 9-23

東漢 Eastern Han AD 25-220

三國 THREE KINGDOMS 220-265

魏 Wei 220-265

蜀漢 Shu Han 221-263

吳 Wu 222-263

晉 JIN DYNASTY 265-420

西晉 Western Jin 265-317

十六國 Sixteen Kingdoms 304-439

東晉 Eastern Jin 317-420

南朝 SOUTHERN DYNASTIES

北朝 NORTHERN DYNASTIES

420-589

南朝 Southern Dynasties

劉宋 Liu Song 420-479

南齊 Southern Qi 479-502

梁 Liang 502-557

陳 Chen 557-589

北朝 Northern Dynasties

北魏 Northern Wei 386-534

東魏 Eastern Wei 534-550

西魏 Western Wei 535-556

北齊 Northern Qi 550-577

北周 Northern Zhou 557-581

隋 SUI DYNASTY 581-618

唐 TANG DYNASTY 618-907

五代 FIVE DYNASTIES 907-960

後梁 Later Liang 907-923

後唐 Later Tang 923-936

後晉 Later Jin 936-946

後漢 Later Han 947-950

後周 Later Zhou 951-960

遼 LIAO DYNASTY 907-1125

宋 SONG DYNASTY 960-1279

北宋 Northern Song 960-1127

南宋 Southern Song 1127-1279

金 JIN DYNASTY 1115-1234

明 MING DYNASTY 1368-1644

洪武 Hongwu 1368-1398

建文 Jianwen 1399-1402

永樂 Yongle 1403-1425

洪熙 Hongxi 1425

宣德 Xuande 1426-1435

正統 Zhengtong 1436-1449

景泰 Jingtai 1450-1456

天順 Tianshun 1457-1464

成化 Chenghua 1465-1487

弘治 Hongzhi 1488-1505

正德 Zhengde 1506-1521

嘉靖 Jiajing 1522-1566

隆慶 Longqing 1567-1572

萬曆 Wanli 1573-1619

泰昌 Taichang 1620

天啟 Tianqi 1621-1627

崇禎 Chongzhen 1628-1644

清 QING DYNASTY 1644-1911

順治 Shunzhi 1644-1661

康熙 Kangxi 1662-1722

雍正 Yongzheng 1723-1735

乾隆 Qianlong 1736-1795

嘉慶 Jiaqing 1796-1820

道光 Daoguang 1821-1850

咸豐 Xianfeng 1851-1861

同治 Tongzhi 1862-1874

光緒 Guangxu 1875-1908

宣統 Xuantong 1909-1911

中華民國 REPUBLIC OF CHINA

1912-

元 YUAN DYNASTY 1279-1368

洪憲 HONGXIAN (YUAN SHIKAI)

1915-1916

中華人民共和國

PEOPLE’S REPUBLIC OF CHINA

1949-

New Forms - Song/Yuan

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