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Amphora

CultureChinese
DateNorthern Qi dynasty (550-577 C.E.)
MediumGlazed stoneware with molded decoration
DimensionsOverall: 20 1/2 × 10 inches (52.07 × 25.4 cm)
Credit LinePurchase: William Rockhill Nelson Trust
Object number40-3/3
On View
On view
Gallery Location
  • 229
Collections
DescriptionDark buff-colored body covered with olive-green glaze. Elaborate appliqué ornament of lotus petals, demons, roundels, trees, and pendant streamers. Four loop handles on the shoulder.Exhibition History

Chinese Art, Symbols, and Images, Los Angeles County Museum of Art, January - May 1952; Jewett Arts Center; Wellesley College, March 19 - June 4, 1967.

Ice and Green Clouds: Traditions of Chinese Celadon, Indianapolis Museum of Art, January 26 - March 23, 1987; The Minneapolis Institute of Art, April 18 - June 14, 1987; The Asia Society Galleries, New York, July 16 - September 6, 1987; Kimbell Art Museum, Fort Worth, TX, October 18, 1987 - January 3, 1988; The Art Institute of Chicago, February 4 - March 27, 1988.

Chinese Ceramics, Tokyo National Museum, October 12 - November 23, 1994.

Provenance

Yamanaka & Co.;

Purchased from Yamanaka & Co. by The Nelson-Atkins Museum of Art, Kansas City, MO, 1940.

Published References

Mizuno, ed., Sekai Toji Zenshu, vol. 9 (Zauho Press, 1956), pl. 2 (repro.).

Oriental Art, vol. 3 (Surrey, England: Oriental Art Magazine, 1957), 331, fig. 6 (repro.).

Gu gong bo wu yuan yuan kan, no. 1 (Beijing: Wen wu chu ban she, 1958), 58, no. 5 (repro.).

Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 207 (repro.).

Junkichi Mayuyama, ed., Ō-Bei shūzō Chūgoku tōji zuroku (Kyōto-shi: Mayuyama Ryūsendō, 1960), fig. 3 (repro.).

Encyclopedia of World Art, vol. 3 (New York: McGraw-Hill, 1961), pl. 236 (repro.).

Michael Sullivan, An Introduction to Chinese Art (Berkeley, California: University of California Press, 1961), pl. 65 (repro.).

Theodore Robert Bowie, East West in Art: Patterns of Cultural & Aesthetic Relationships (Bloomington: Indiana University Press, 1966), 86, fig. 123 (repro.).

Max Loehr et. al., Chinese Art: Symbols and Images (Wellesley, Massachusetts: Wellesley College, 1967), 24, no.11 (repro.).

Thomas Froncek et al., Horizon Book of the Arts of China (New York: New York, American Heritage, 1969), 229 (repro.).

Ross E. Taggart, George L. McKenna, and Marc F. Wilson, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. II, Art of the Orient. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 79 (repro.).

Sherman E. Lee, “The Changing Taste for Chinese Cermaics” Apollo, special issue for the Asian art collection in the Nelson-Atkins Museum of Art, Vol. XCVII, no. 133 (March 1973), 46, pl. 13 (repro.).

George Kuwayama, Chinese Ceramics: the Heeramaneck Collection, a Gift from Nasli M. Heeramaneck (Los Angeles: Los Angeles County Museum, 1973), 58, no. 56 (repro.).

Takashi Suzuki, Chūgoku Bijutsu, vol. 5 (Tokyo: Kōdansha, Shōwa 48, 1973), pl. 10 (repro.).

Suzanne G. Valenstein, A Handbook of Chinese Ceramics (New York: Metropolitan Museum of Art, 1975), 37, fig. 21 (repro.).

Lovell, Hsin-chung, “Some Northern Chinese Ceramic Wares,” Oriental Art, vol. 21 (Surrey, England: Oriental Art Magazine, 1975), 328-43, 331, fig. 6 (repro.).

Margaret Medley, the Chinese Potter, A Practical History Of Chinese Ceramics (Ithaca, New York: Cornell University Press, 1976), 72, fig. 47 (repro.).

William Watson, L’Art de L’Ancienne Chine (Paris: Éditions d'Art Lucien Mazenod, 1979), 350, pl. 153 (repro.).

Yutaka Mino, Katherine R. Tsiang, Ice and Green Clouds Traditions of Chinese Celadon, cat. no. 38 (Indianapolis, Indiana: Indianapolis Museum of Art; Bloomington, Indiana: Indiana University Press, 1986.), pl. 109 (repro.).

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 289 (repro.).

Suzanne G. Valenstein, Cultural Convergence in the Northern Qi Period: a flamboyant Chinese ceramic container: a research monograph (New York: Metropolitan Museum of Art, 2007) (repro.).

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 315, pl. 99 (repro.).

Nelson-Atkins Museum of Art, Ceramics: highlights from the collection of the Nelson-Atkins Museum of Art (The Nelson-Atkins Museum of Art Museum, 2016), 14 [repro.].

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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