This bowl stands out for its detailed depiction of two fish amid soft spiral waves, bordered by two cranes within the bowl. The design's depth and clarity, from the lifelike portrayal of the landscape to the cranes' meticulously detailed features, render this piece exceptionally unique and rare. Such complex designs on bowls were achieved using a mold, a method initiated at the Ding kilns in the late 11th or early 12th century, enabling heightened precision.
Period : Northern Song-Jin dynasty(960-1234)
Type : Dingyao
Provenance : Acquired in late 1990s from Hongkong
Dimension : 19 cm(Height) x 8cm(Diameter)
Condition : Good (There were mild cracks along the gilted areas, but they were firmly repaired)
Reference :
1) Sotheby's Hongkong 29 April 2022 - Important Chinese Art including Jades from the De An Tang Collection and Gardens of Pleasure - Lot 3695, Lot 3603
(Price : 1,890,000 HKD / Type : Closely related)
https://www.sothebys.com/en/buy/auction/2022/important-chinese-art-including-gardens-of-pleasure-erotic-art-from-the-bertholet-collection-and-jades-from-the-de-an-tang-collection/a-rare-moulded-dingyao-boys-bowl-northern-song-jin
2) Sotheby's Hongkong 08 October 2019 Important Chinese Art - lot 3612
(Price : 3,000,000 HKD / Type : Related)
https://www.sothebys.com/en/auctions/ecatalogue/2019/important-chinese-art-hk0894/lot.3612.html
3) Sotheby's Hongkong 22 April 2021 - Monochrome III - Lot 30
(Price : 6,000,000-7,000,000 HKD / Type : Related)
https://www.sothebys.com/en/buy/auction/2021/monochrome-iii/an-exceptionally-large-and-rare-dingyao-fish-basin
4) The MET - Accession Number: 14.40.155 - Bowl with Peonies
(Type : Closely Related)
https://www.metmuseum.org/art/collection/search/52031
* Ding-Yao Ware
Ding ware, produced primarily in Dingzhou, Hebei province, flourished during the Northern Song dynasty (11th–12th century) and is among the finest examples of early white porcelain in China. It is characterized by its ivory-tinged white glaze, thin and compact clay body, and refined carved or molded decoration rendered beneath a translucent glaze.
The body of Ding ware is made from fine, nearly pure porcelain clay, usually of a warm, ivory-white tone rather than pure white. The glaze—highly transparent and slightly viscous—often pools faintly in the recesses, creating a soft creamy hue and emphasizing the carved motifs. This glaze was fired in a reduction atmosphere at high temperature, producing a smooth and glassy surface with a subtle satin sheen.
Decoration was typically achieved by incising or molding floral and foliate designs, such as lotus, peony, or scrolling vines. The carving is shallow yet precise, executed with smooth, confident strokes that appear softened beneath the glaze. Unlike the sharper outlines of later imitation wares, authentic Ding carving retains a fluid, almost hand-drawn quality.
A distinctive feature of Ding ware is its unglazed rim (露胎口). Because vessels were fired upside down to prevent the glaze from adhering to the kiln supports, the mouth rim was left bare and often fitted later with a metal band (usually silver or bronze). This firing method left a thin, unglazed edge that is a key diagnostic trait in authentication.
The footring is typically narrow and neatly trimmed, revealing the fine, dense, slightly buff-colored clay with traces of firing adhesions (spur marks). Over time, genuine Ding pieces may display mild surface iridescence or minute crazing due to glaze aging—considered positive evidence of long-term burial or environmental exposure.
In aesthetic terms, Ding ware exemplifies the Northern Song ideal of purity and restraint, combining delicate craftsmanship, subtle coloration, and quiet luminosity. From a connoisseur’s standpoint, its authenticity is judged by the soft translucence of the glaze, the precision yet warmth of the carving, and the natural oxidation and tactile aging of the exposed clay areas.
