金 定窰印花穿花鳳凰雙魚紋盤

with shallow sides resting on a short foot, crisply moulded to the cavetto with a keyfret band below the rim enclosing a frieze depicting a pair of phoenix soaring with outstretched wings, interrupted with stylised scrolls bearing large floral blooms and foliage, encircling the central medallion enclosing two fish and tempestuous waters, covered overall save for the unglazed rim in a translucent silky ivory-coloured glaze

家適公司，香港，1990年以前

The dish is in overall good condition, with just a few characteristic firing imperfections, including a glazed over firing line of approx. 2.5 cm on the interior, as visible in the catalogue illustration. There are also a few minute flakes to the rim, the largest measuring approx. 0.4 cm.
"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."

Another Jin dynasty Dingyao dish of larger size in the National Palace Museum, Taipei, moulded at the centre with a similarly composed design of a phoenix, was included in the Museum’s exhibition Decorated Porcelains of Dingzhou. White Ding Wares from the Collection of the National Palace Museum, Taipei, 2014, cat. no. II-133.

Production of Ding ware consisted mostly of small utilitarian wares such as dishes and bowls initially left undecorated or hand carved in the 10th to 12th centuries. From the late Northern Song period, craftsmen moved away from incised decoration to using mushroom-shaped moulds which were similar to those used for casting gold and silver vessels. The clay was pressed onto the relief-decorated mould before the edges were trimmed down, to ensure the piece retained the form as well as the thinness and lightness of precious materials. This technique allowed for the manufacture of a large number of vessels, thereby satisfying the demand of the market.