A 'JIZHOU' 'LEAF'-DECORATED BOWL SOUTHERN SONG DYNASTY |

the steeply flaring conical sides rising from a concave base, decorated to the interior with a buff-coloured leaf reserved against a rich dark brown glaze thinning to brown at the rim, stopping at the unglazed foot

This bowl is in very good condition, with the exception of some extremely light surface scratches and very minor firing imperfections, including some pinhole glaze bubbles and a small area with uneven glaze to the exterior beneath the rim, which partially exposes the colour of the body and visible under the UV light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Bowls with this enchanting pattern of a golden leaf, its jagged contours and fine web of veins providing a striking contrast to the black glaze, were among the most sought-after products of the Jizhou kilns in Jiangxi province. The method of producing this pattern is discussed by Robert D. Mowry in the catalogue to the exhibition Hare’s Fur, Tortoiseshell, and Partridge Feathers, Harvard University Art Museums, Cambridge, 1995, pp 260-262, who notes that it is likely that a leaf was adhered to the vessel before being immersed into the glaze mix. During firing, the natural chemical composition of the leaf would react with the glaze, rendering it transparent. It is worth noting that while during firing, the edges of the leaf would often burn and curl, the perfectly articulated pattern on this bowl makes it a particularly successful example. A bowl of this type from the Ataka collection, Osaka is illustrated in Sekai tōji zenshū/ Ceramic Art of the World, Tokyo, 1977, vol. 12, pls 107 and 108; another from the Hirota collection now in the Tokyo National Museum, is published in the Illustrated Catalogues of Tokyo National Museum: Chinese Ceramics I, Tokyo, 1988, pl. 668; a third bowl in the Museum of Oriental Ceramics, Osaka was included in the exhibition Chinese Ceramics, Tokyo National Museum, Tokyo, 1994, cat. no. 210, together with one with the leaf in the centre, cat. no. 212; and a further example with the leaf in the centre in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (II), Hong Kong, 1996, pl. 240.