Chinese Ceramics & Works of Art

Littleton & Hennessy

Asian Art

Chinese Ceramics & Works of Art

Littleton & Hennessy Asian Art

1 Princes Place

Duke Street, St. James’s

London SW1Y 6DE

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www.littletonandhennessy.com

mark@littletonandhennessy.com

© 2022 All rights reserved

Published by Littleton & Hennessy Asian Art

27 October – 4 November 2022

INTRODUCTION

Chinese Ceramics & Works of Art

For this special twenty-fifth edition of ‘Asian Art in London’ we have

chosen a group of pieces that represent the diversity of material we like to

deal with in our day-to-day business. Each piece tells a story and has been

selected not solely for monetary importance but for their beauty and how

they speak to us.

The Chinese Art market has grown phenomenally since we first set out as

dealers in the 1990’s and the frenetic buying and selling in the years after

have slowly eased into a more calm and thoughtful process.

Undoubtedly, the market and how we conduct our business will continue

to evolve in future years but what endures is our relationship with our

clients and peers. Many of whom are our closest friends and without each

other this business would not be the constant adventure it is.

Once again we welcome all our friends to London this year and remember

our dear friends, mentors and colleagues who have passed recently.

Those of you who can’t make it to London or who think they have retired,

we look forward to long phone conversations scrutinising many catalogues

of all that is on offer during ‘Asian Art in London 2022’.

Richard Littleton

James Hennessy

Mark Slaats

1AN IMPORTANT INCISED AND GILT BURNT JADE BRUSH POT

Kangxi period, 1662–1722

清康熙 1662–1722 嵌金火烧玉笔筒

Dimensions: 11.2cm high without stand, 11.2cm diameter

Provenance: - T.Y. King & Sons Ltd., Hong Kong

- Sir S.S. Gordon, purchased July 1975

The sides incised in the round with a scene of a scholar seated within his

pavilion, contemplating the trees and mountainous landscape before him.

This brush pot was clearly made for someone with a deep appreciation for things

ancient, as the wonderfully worked surface conveys the sense of antiquity.The

scene may well have been derived from a painting by Dong Qichang (1555-

1636). Dong had a fascination with antiquity and his critical studies of Chinese

painting and calligraphy was groundbreaking for the time and had an enormous

influence on the artists of the Qing dynasty. He and other arbiters of taste were

known as the Nine Friends and were highly regarded by new, wealthy collectors.

Compare a painting by Dong Qichang sold by Christie’s Hong Kong, 29

November 2021, lot 857, bearing striking similarities to the scene depicted on

this brush pot in its treatment of the trees and architecture.

2

A BLUE AND WHITE ‘BOYS’ ROULEAU VASE


清康熙 1662–1722 青花婴戏图棒槌瓶

Dimensions: 25.5cm high

Provenance: - A private English collection

The cylindrical body painted in soft blue tones with a continuous scene of boys

playing various games in a balustrade garden beneath scrolling clouds on the

shoulders of the vase, rising to a tall ribbed neck painted with bamboo branches.

The base is painted with a leaf mark within a double circle in underglaze blue.

Rouleau vases of this size depicting playing boys in a garden scene are rare. This

theme of several boys playing together (‘yingxi tu’) carries an auspicious wish for

many sons, as illustrated in Terese Tse Bartholomew, ‘Hidden Meanings in Chinese

Art’, San Francisco, 2006, p. 63. This scene was first depicted on stoneware from

the late 8th-early 9th century, but is more commonly seen on blue and white bowls

from the Ming and Qing dynasties.

3

A BLUE AND WHITE ‘FLOWER’ ROULEAU VASE


清康熙 1662–1722 青花花卉棒槌瓶

Dimensions: 26cm high


The body of the vase finely painted with the ‘Three Friends of Winter’, pine,

bamboo and plum and a sparrow in mid-flight, symbolising long life, good

fortune and abundance. The cylindrical body rising to a slender ribbed neck,

encircled by geometric bands.The base is painted with a double circle in

underglaze blue.

4

A CRACKLED GREEN-GLAZED VASE

Kangxi period, 1662-1722

清康熙 1662-1722 绿釉开片瓶



Well potted with high shoulders below a short neck, tapering slightly towards the

crisp foot. The vase is covered overall with a translucent pale green glaze with fine

crackles, the base and interior glazed white.

Compare a smaller vase of ‘meiping’ shape with similar crackled green glaze in the

collection of the Metropolitan Museum of Art, accession number 14.40.248.

5

A BLUE AND WHITE FOOTED DISH

Kangxi period 1662–1722

清康熙 1662–1722 青花连生贵子图碟

Dimensions: 15.5cm diameter

Provenance: - Purchased from Littleton & Hennessy Asian Art, November 2005

- A private English collection

Published:

- Littleton & Hennessy Asian Art, ‘Exhibition of Qing Porcelain’,

Asian Art in London 2005, no. 4, p. 8

The deep dish painted to the centre with a boy seated on a flowering lotus

(‘lianshengguizi tu’), holding a leaf parasol, a flower and wave band to the rim. The

base painted with a six character mark translating to ‘elegantly made of excellent

jade and good friends’.

This footed dish is closely related to dishes executed in a similar reverse technique

with a central scene set amongst scrolling foliage and a similar floral band around

the rim, produced in the Transitional and early Kangxi period. Compare a deep

circular dish, painted with a boy holding a branch of peony flowers, published by S.

Marchant & Son, ‘Exhibition of Transitional Wares for the Japanese and Domestic

Markets’, 1989, no. 51, p. 37.

6

A TURQUOISE-GLAZED BRUSH WASHER


清康熙 1662-1722 绿松石釉洗

Dimensions: 12cm diameter

Provenance: - Weisbrod Chinese Art, New York

- Christie’s New York, Fine Chinese Ceramics and Works of Art

Published: - Oriental Arts UK, Asia Week New York 2003, no. 38, p. 34

Modelled imitating a segment of bamboo, the thick sides with tiny stipples on the

flat mouth rim. Two rows of small bosses encircling the base below two incised

sprigs. The interior carved with a dense ground of ’lingzhi’ fungus.

7

A LARGE TURQUOISE-GLAZED BOWL


清康熙 1662-1722 绿松石釉碗


Provenance: - Pierre Sacque, Paris

Published:

- Littleton & Hennessy Asian Art, ‘Exhibition of Chinese

Ceramics’, Asia Week New York 2004, no. 11, p. 26-27

The deep-rounded sides with bands of carved and moulded archaic ‘taotie’ masks on

a diamond-diaper ground above issuing lappets, beneath a flaring barbed rim. The

short channelled footring and base also covered with a rich turquoise glaze.

8

A WHITE AND RUSSET JADE ‘PINE’ RHYTON

17th/18th century

17/18 世纪白玉仿犀牛角松雕杯

Dimensions: 9.5cm high; 11.3cm high with wooden stand

Provenance: - From the Collection of Henry Fitzalan-Howard (1847-1917),

14th Duke of Norfolk, Amberley Castle, West Sussex, and thence

by descent

Following a rhinoceros-horn prototype, the irregular-shaped flaring cup is carved

as a section of pine trunk, decorated with clusters of pine needles borne on gnarled

branches and inhabited by two shrews. The base is further decorated with a ‘lingzhi’.

The polished stone has a lustrous white tone with some russet inclusion, cleverly

used to accentuate parts of the tree and the fungus.

The decoration of this beautifully carved jade rhyton, with pine trees, squirrel and

the use of natural flaws in the stone to accentuate the overall design is typical of the

Transitional and early Qing period. It is perhaps inspired by bamboo or rhinoceros

carvings of the same period. Compare also a large jade brush pot of similar style,

formerly in the collection of Alan Hartman, sold at Christie’s Hong Kong, 27

November 2007, lot 1524.

9

AN OPENWORK JADE ‘LINGZHI’ GROUP

Ming dynasty, 17th century

明 17 世纪镂雕玉灵芝

Dimensions: 13.3cm high, 17cm wide without stand

Provenance: - A private Irish collection

Carved as openwork branches of auspicious ‘lingzhi’ fungus, symbolising the wish

for longevity. The stone of a pale celadon colour with minor russet inclusions. The

group supported on an exquisitely carved boxwood and zitan stand.

10

AN IMPORTANT IMPERIAL INSCRIBED MOTTLED

WHITE JADE BOULDER

Qianlong period, 1735-1796

清乾隆 1735-1796 御制松阴图白玉山子

Dimensions: 15cm wide, 10cm high

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

A finely carved mottled white jade boulder, depicting a scholar amidst rocks and

pine trees. The boulder is inscribed with a poem by the Qianlong Emperor:

Shade of pine tree – Imperial made

Sitting under the pine tree in Mount Putuo surrounded by the sound of the water,

seeking for the comfort and lofty spirit with released legs and without crowns.

Bringing Jiaotong does not need Gu any more, the high mountain and water flow

are playing naturally.

A PALE CELADON JADE CARVING OF A RECUMBENT

11 DOG, WITH FITTED WOOD STAND

Song dynasty 960-1279

宋 960-1279 青白玉卧犬

Dimensions: 8.5cm long

Provenance: - The Raymond Oppenheimer Collection

- Bluett & Sons, London, 1965, purchased for £45

- The Collection of Anthony du Boulay, acquired 7 Dec 1965

Published:

Exhibited:

The Oriental Ceramic Society, ‘Chinese Jade throughout the

Ages’, Victoria and Albert Museum, London, 1975, no. 245, p. 82

The Oriental Ceramic Society, ‘Chinese Jade throughout the

Ages’, Victoria and Albert Museum, London, 1975

Finely carved as a recumbent hound with its head resting on its extended forepaws.

The body finely carved to show the outline and details of the animal, with a

short, bushy tail, the underside of the legs finished flat. The stone of a pale celadon

tone with minor russet inclusions.

Compare a similar carving of a yellowish-green reclining dog, with brown markings

in the Victoria and Albert Museum, accession number A.70-1936, illustrated

in Ming Wilson, ‘Chinese Jades’, no. 76 and exhibited in the Oriental Ceramic

Society, ‘Chinese Jade throughout the Ages’, 1975, no. 250

12

A SMALL LONGQUAN CELADON ‘MALLET’ VASE

Southern Song dynasty, 1127-1279

南宋 1127-1279 龙泉青釉盘口瓶


Provenance: - A private Taiwanese collection

The vase potted with a dish-shaped mouth above a cylindrical neck, the canted

shoulder and sides of the body tapering slightly toward the unglazed foot, revealing

the typical terracotta reddish brown body. The vase and the base are covered in an

even, celadon-coloured glaze.

Many examples of mallet form vases with handles have survived. However, mallet

form vases without handles are much rarer. Compare an example excavated

in Songyang County, Gushi city, now in the Longquan Municipal Museum,

illustrated in ‘Zhongguo Taoci Chuanji’, volume 8, part II ’Song’, Shanghai,

1999, pl. 76, p. 114 and discussed p. 262. A similar example, of slightly more

slender form from the Linyushanren Collection, was sold at Christie’s New York,

22 March 2019, lot 1717.

13

A RARE MINIATURE COPPER-RED DECORATED

‘MEIPING’ VASE

Yuan dynasty, 1279-1368

元 1279-1368 釉里红梅瓶



The body of the vase is decorated with bamboo branches, beneath a band of

classic scrolls around the neck. The vase is covered in a soft, pale blue-tinged white

glaze revealing the burnt orange body around the slightly splayed foot.

Miniature vases of this type are rare. Compare a copper-red decorated jar, decorated

with chrysanthemum below a similar band of classic scroll sold at Christie’s New

York, Fine Chinese Ceramics and Works of Art, 17 March 2017, lot 1167. Two

further jars, decorated in underglaze blue are illustrated in ’Jingdezhen Wares, The

Yuan Evolution’, Hong Kong, 1984, p. 136, nos. 115 and 116.

14

A MINIATURE CARVED CINNABAR LACQUER ‘FIGURES’

BOX AND COVER

Incised four-character Qianlong mark and period, 1736-1795

“ 乾隆年制 ” 四字双行楷书款剔红高士图圆盖盒

Dimensions: 4 cm diameter

Provenance: - Purchased from Littleton & Hennessy Asian Art, November

2010

- Sotheby’s Hong Kong, Important Chinese Ceramics and Works

of Art, 7 April 2015, lot 3641

- A private Asian collection

Published:

Littleton & Hennessy Asian Art, ‘The Art of Scent’, Asian Art

in London 2010, no. 30

The circular box and cover are of a gently domed shape. Finely carved, when put

side by side, to depict a continuous scene of two scholars having a picnic under a

blossoming peach tree, both looking to their left at a young boy attendant, kneeling

beside rockwork, under trailing clouds and the sun in the sky above. The interior

lacquered black with a reign mark incised on the inside of the cover.

15

A CIRCULAR LACQUER ‘FLORAL’ BOX AND COVER


清乾隆 1736-1795 剔红雕花圆盖盒


Provenance: - A private Parisian collection

The central medallion of the cover carved with branches of peony, chrysanthemum,

lotus and various other flowers set amongst foliage and ‘lingzhi’ fungus on a diaper

ground. The side panels of the box enclosed by key-fret borders and carved with

pomegranates surrounded by a meandering lotus scroll and a variety of leafs and

flowers.

16

A GROUP OF THREE RHOMBIC OR DIAMOND SHAPED

LACQUER BRUSH POTS

Wanli mark and period, 1573-1619

明万历 1573-1619 剔红菱方笔筒

Dimensions: 10cm wide, 13.5cm high

Provenance: - Purchased from Littleton & Hennessy Asian Art, November

2007

- A private American collection

Published:

Littleton & Hennessy Asian Art, ‘Arts for the Scholar’, Asian Art

in London 2007, no. 16, p. 42-45

Each of the three of tall lozenge shape, raised on small corner feet. Two decorated

in red lacquer with finely incised key-fret border at the top, one with a ‘wan’,

the other with a swastika and cash diaper ground to the front sides. The third

lacquered in a marble effect in yellow, red and black. All three with black lacquer

to the base and interior. The base with six-character ‘da ming wan li nian zhi’

marks painted in red.

17

AN UNUSUAL DUAN INK STONE WITH CARVED ‘KUI’

DRAGONS

Qing dynasty, 1644-1911

清 1644-1911 夔龙端砚

Dimensions: 19cm long, 10cm wide


Published: - Littleton & Hennessy Asian Art, ‘Arts for the Scholar’, Asian

Art in London 2007, no. 23, p. 60-61

The ink stone finely carved in the form of two overlapping circles. The first

circle with a slight raised rim, decorated with a key fret border. The second circle

forming the deep moon-shaped ink pool with a wide rim, finely carved in low

relief with two ‘kui’ dragons and a central ‘shou’ character. Both circles of the

base with raised rim, decorated in low-relief with five bats (‘wu fu’) flying amidst

clouds. Wooden box and cover.

Five bats grouped together create the very auspicious and popular motif ‘five good

fortunes’; longevity, wealth, health, love of virtue and natural death.

18

A MINIATURE LAPIS LAZULI RECTANGULAR VASE


清乾隆 1736-1795 青金石方瓶


Provenance: - Priestley & Ferraro, London

This delicately carved tool vase is of rectangular form with inverted corners,

slightly tapering towards the base, supported on four feet. The stone of a bright,

purple-blue colour suffused with gold flecks and milky-white inclusions, further

enhancing the shape of the vase.

In China, lapis lazuli is traditionally symbolic of purity and rarity. During the

Qing dynasty, it was known as ‘qingjin shi’ (blue-gold stone). Carvings in lapis

lazuli are rare and were reserved for use by the Qing imperial court. There are

no records of the use of lapis lazuli before the Qing dynasty, although beads

executed in lapis have been excavated dating to the Han dynasty, according to

Ming Wilson in ‘The Colour of Stones’, Transactions of the Oriental Ceramics

Society 1997-98, vol.62, p.34. This aura of rarity and mystery may be partly due

to the inaccessibility of the principle mines, located in the remote Badakhshan

region of north-east Afghanistan. The natural smoothness of the stone allowed

it to be polished to a high degree, as is the case in this vase, highlighting the

brilliant blue colour and the contrasting natural inclusions.

19

A CLOISONNÉ ENAMEL PILGRIM FLASK ‘BAOYUEPING’

ON OVAL FOOT-RING

Ming dynasty, first half 17th century

明 17 世纪上半叶铜胎掐丝珐琅抱月瓶


Provenance: - A private Belgian collection

- Galery Lamy – Oriental Fine Arts (Brussels)

The pilgrim flask or moon flask decorated with peaches and pomegranate. The short

narrow neck with two looped handles and the body sitting on an oval foot-ring.

This cloisonné example is based on vases of this type in porcelain. Compare an

almost identical flask of the same size with an inverted gilt-bronze rim in the Pierre

Uldry Collection, illustrated in ‘Chinese Cloisonné: the Pierre Uldry Collection’,

no. 138. And an identical flask of slightly smaller size, also in the Pierre Uldry

Collection, no. 136. An almost identical pilgrim flask with a ‘Jingtai’ mark can be

found in the collection of the Brooklyn Museum, see Getz (1912, pl. 47).

20

A RARE CLOISONNÉ ENAMEL GARLIC-HEAD

TWIN-HANDLED VASE


清乾隆 1736-1795 铜胎掐丝珐琅如意耳蒜头瓶


Provenance: - A private Japanese collection

- A private American collection

The rounded body of this elegantly shaped cloisonné enamel vase is finely decorated

with pink, purple, yellow and blue flowers issuing from bright green foliage, all on

a turquoise ground. The slender neck decorated with lotus flowers ringed by a gilt

band, terminating in a bulbous mouth. The neck flanked by two handles in the

shape of auspicious ‘ruyi’ sceptres.

Cloisonné enamel pieces of this shape and quality are extremely rare. Compare a

vase sold at Christie’s Paris, 14 December 2011, lot 247. A related example, dated

18th century, but of ovoid form and enamelled with floral sprays, previously from

the collection of Baroness Salomon de Rothschild and now in the Musée des Arts

Décoratifs, Paris, is illustrated by B.Quette, ’Cloisonné: Chinese Enamels from

the Yuan, Ming, and Qing Dynasties’, New York, 2011, p.164, fig.8.18. See also

another moon flask, enamelled with peony blossoms, first half 18th century, but of

more flattened form and with dragon shaped handles, illustrated by H.Brinker and

A.Lutz, ’Chinese Cloisonné: The Pierre Uldry Collection’, New York, 1989, pl.234.

21

A CARVED CELADON JADE ARCHAISTIC

CUP AND COVER

Ming dynasty, around 1600

明约 1600 青玉仿古单耳杯

Dimensions: 13.8cm high, 7.7cm diameter

Provenance: - Formerly in the Collection of G. Ribbins Peletier, Esq.

- Sotheby’s Chinese Ceramics & Works of Art, London, 16 May

2007, lot 260

Published:

Stanley Charles Nott, ‘Chinese jade throughout the ages’, Japan,

1962, Plate XXV

The body on three stylised feet decorated with animal masks. The feet carved in relief

around the sides with a confronting archaistic dragon and phoenix on a studded

ground, separated by a cylindrical flanged loop handle decorated with scroll motifs,

all between key-fret bands at the rim and base. The cover with a central ‘yinyang’

knob surrounded by three recumbent rams separated by three ‘taotie’ mask motifs.

The stone of light celadon tone with brown and russet inclusions.

Compare a similar cup without a cover, sold at Sotheby’s New York, 20 March

2007, lot 623. Another similar cup can be found in René-Yvon Lefebvre

d’Argencé, ‘Chinese Jades in the Avery Brundage Collection’, San Francisco,

1972, plate L, p. 115. A comparable cup excavated from a Ming dynasty tomb

dated 1676 and located outside of Beijing, is illustrated in ’Wenwu’, Beijing,

1963, fig. 18, no. 1, p. 42.

22

AN ARCHAISTIC JADE RITUAL POURING VESSEL,

‘GONG’

Ming dynasty

明仿古玉觥

Dimensions: 11.7cm wide, 7cm high

Provenance: - The Arthur M. Sackler Collection

- Christie’s New York, ‘Fine Chinese Ceramics and Works of

Art’, 25 March 2010, lot 1074

The mottled jade vessel modelled in the form of an archaic bronze ritual pouring

vessel, ’gong’, decorated with ‘taotie’ masks centred on vertical flanges, set between

a stylised band of dragons, phoenix and ‘C’-scrolls. The handle carved in the form

of a dragon head. The stone of the vessel is of a pale celadon tone with pale russet

inclusions.

Compare a similar example with lid, illustrated in ‘Jade’, Roger Keverne, London,

1992, p. 143, fig. 36. A slightly later example of similar size was sold at Christie’s

London, Fine Chinese Ceramics and Works of Art, 6 November 2012, lot 318.

23

A SKY BLUE JAR WITH COBALT BLUE AND WHITE SLIP

‘DRAGON AND CLOUD’ DECORATION

Qianlong mark and period, 1736-1795

清乾隆 1736-1795 蓝地蓝白彩云龙罐


Provenance: - Collection of Thomas English Cody, United States of America

- Brunk Auctions, North Carolina, United States of America (2010)

The sky blue jar is decorated under the glaze with cobalt blue and white slip ‘dragons

and clouds’ in a circular design. Recessed within the low foot, the sky-blue base of

the jar is painted with a six-character Qianlong reign mark in seal script.

The jar was formerly in the Collection of Thomas English Cody, whose great-uncle

was the famous Buffalo Bill Cody. Buffalo Bill Cody brought the Wild West to

American audiences; Thomas English brought the Far East to America with his

collection of Chinese art.

Compare a pear-shaped vase with near identical decoration of dragons and

scrollwork in the Royal Collection Trust (RCIN 730).

24

AN EXCEPTIONALLY RARE JADE FLOWER CUP

Song/Yuan dynasty, 10-14th century

宋 / 元 10-14 世纪玉莲杯

Dimensions:

9cm wide

Provenance: - Roger Keverne Ltd., London, May 2011

Published:

Roger Keverne, ‘Fine and Rare Chinese Works of Art and

Ceramics Summer Exhibition’, London, 2011

This rare jade flower cup is delicately carved in the shape of a dried lotus leaf. The

crinkled edges curling up on itself in almost triangular shape, the naturalistically

rendered veins visible on the leaf. The stalk of the lotus cleverly incorporated to

form the foot of the cup.

Compare a similar jade brush washer, also in the shape of a lotus leaf, dated Song/

Yuan dynasty in the collection of the National Palace Museum. Another white jade

cup was unearthed from the Shih Sheng-tzu tomb in Quzhou, Zhejiang Province,

dating to the Southern Song dynasty (1127-1279). A very similar cup can be seen

in the Ming dynasty painting ‘Sixteen Views on Reclusion’ by Chen Hongshou

(1599-1652) of the Northern Song poet and scholar Su Tung-po (1036-1101). In

this painting, Su Tung-po is sitting on a wooden chair holding a lotus flower cup,

while looking resolute in the face of adversity.

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-

Chinese Ceramics & Works of Art

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