This vase belongs to the long argument about Chinese porcelain: a white-glazed porcelain body, thrown, glazed and fired until the surface turns to glass. the Imperial workshop that made it treated whiteness and colour as a single problem to be solved in the kiln.
What looks like decoration is also a record. The lotus motif was chosen, not incidental, and on a court vessel a repeat pattern is a way of saying order without using words.
Chinese ceramics carried the weight of a civilisation that measured its courts by what they could fire.
A vase like this outlived the hands that made it. It is why a white-glazed porcelain vessel from the Imperial dynasty still reads as a small piece of statecraft, fired and then forgotten by everyone but the collector.
Object details
| Name | Sweet white glaze scratched plum vase with entwining lotus pattern (甜白釉划花缠枝莲纹梅瓶) |
|---|---|
| Artefact no. | 新00142804 |
| Technique | White-glazed porcelain (白釉) |
| Period | Imperial dynasty |
| Collection | The Palace Museum, Beijing |
| Source | Palace Museum Digital Collection (数字文物库) |
Image © The Palace Museum. View the original in the Palace Museum Digital Collection.