Jingdezhen Blue-and-white porcelain jar with “IHS”Jingdezhen kiln, and the black porcelain by...
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hina is distinguished for its porcelain. More than 10000 years ago, our ancestors had already developed a firm grasp of pottery making techniques. During the era of the mid-Shang Dynasty (c. 1600 BC), early pottery items already existed. In the last years of the Eastern Han Dynasty (200 AD), a new type of porcelain, called green-glazed porcelain, appeared. It was glassy, smooth, refined and crisp. e emergence of this new porcelain marked the maturity of porcelain production techniques. Since then, the history of Cathay pottery had been dominated by porcelain. It was an era of pottery prosperity with the co- existence of ceramics and porcelain. During the Tang Dynasty, kilns specializing in the production of green-glazed, white-glazed, and black-glazed porcelain scattered all over the country. e raw materials and aesthetics for porcelain varied with place and resulted in porcelain with different and distinctive artistic features. In the Tang Dynasty, phenomenal porcelain models began to appear: green-glazed porcelain from Yue kiln (South) and white-glazed porcelain from Xing kiln (North). ey were the contrasting yet representative green and white porcelain from two different regions of the country. Porcelain production reached its peak during the Song Dynasty. ere were numerous reputable kilns and many more continued to mushroom. For the specialization of green-glazed porcelain, there were the Ru kiln, Longquan kiln, Guan kiln, Ge kiln, Jun kiln and Yaozhou kiln that specialized in the production of green-glazed porcelain; as for the production of white-glazed porcelain, there were the Ding kiln and Jiexiu kiln. Also there were the green and white porcelain produced by the Jingdezhen kiln, and the black porcelain by the Jian kiln and Jizhou kiln. ese porcelain items were all unique in style. e newly-discovered technique of the Jingdezhen kiln produced the renowned blue and white porcelain as well as the underglazed red porcelain. is new technique marked an important contribution to the art of porcelain production. During the Ming and Qing Dynasties, a new page of porcelain history was turned. With Jingdezhen as the center of China’s porcelain industry, its history was further developed. Chinese porcelain made a tremendous contribution to the cultural heritage of humankind: its large quantity, its refined quality and its elegant styles. It is through Chinese porcelain that the association between people’s materialistic pursuits and desires is reflected. e scientific practicality and artistic aesthetics are unified through the shape of the vessels. Aesthetic qualities such as symmetry, balance, contrast, harmony, proportion, rhythm and so on, all reveal the spirituality and wisdom of the ancient Chinese. It is only through porcelain, a cultural agent, that Chinese people’s practicality and arts are fused; it is through this particular agent that Chinese people’s materialistic wealth and spiritual civilization won the world’s appreciation. e exploration and expansion of the “Maritime Porcelain Road” is the very evidence that describes Chinese porcelain’s advent in the world and its significant historical contribution. e “Maritime Porcelain Road” generally refers to the sea route that China ships its porcelain to other parts of the world. e route came into being shortly after the establishment of the Silk Road. e route began from the cities along the coastline of China to South East Asia, Sri Lanka, India and then reached the Red Sea, the Mediterranean, the East coast of Africa and Europe. Its vitality began to decline in the Middle Ages. Taking the prosperity of the sea trade, and also with its unique historical status and natural geographic conditions, Macao became an important export city and distribution center of Chinese porcelain since the mid-16 th century. To Macao’s north is the rich and prosperous Pearl River Delta region. e region stretches far and has abundant resources. Business opportunities for Macao are endless, as it has a close relationship with Europe and enjoys good sea trade conditions. Since the end of the 15 th century, merchants from South East Asia and Ryukyu Islands frequently visited Macao. After the Portuguese took permanent residence in Macao in 32 nd year of Emperor Jiajing’s reign (1553-1554), more and more trade activities took place; thus Macao became an important international sea trade city. Along with these trade activities came an influx of merchants, travelers, commodities and capital, which provided positive conditions for trade development. In the second half of the 20 th century, a large quantity of buried porcelain pieces has been unearthed at many historical sites of Macao. Many of the discovered pieces were produced during the early years when Macao was opened up. Shards of the Kraak porcelain plates and other forms unearthed from the original São Agostinho Monastery and Rua dos Mercadores (Northern ports during the Ming Dynasty) are similar to the pieces found in Europe, the Eastern coast of Africa, the Middle East, South East Asia, Japan and the coastal shores of Americas. is is evidence that Macao has always been one of the most important ports of the global route of the “Maritime Porcelain Road”. e term “Maritime Porcelain Road”, in today’s perspective, does not simply mean the sea route of ancient times; it is also a synonym for cultural and economic exchange between the East and West. Taking the opportunity of the 30 th anniversary of the establishment of the Cultural Affairs Bureau of Macao S.A.R. Government, this joint exhibition “Maritime Porcelain Road – Relics from Guangdong, Hong Kong and Macao Museums”, is a collaborative effort of the three cities, namely Guangzhou, Hong Kong and Macao. ese three cities of the Pearl River Delta Region, from past to present, have been playing an important role as a trading port. e motivation of this exhibition is to explore and present a glorious period of ancient China, the precious creativity and imagination of humankind. As the first stop of the exhibition, Macao will contribute its best to arouse awareness in cultural collaboration and exchange between different regions and ethnic groups. We look forward to greeting all of you at the exhibition hall and we hope that our audience will be enlightened and inspired. C 景德鎮窯五彩花卉紋橢圓大盆 清．康熙（1662-1722） 廣東省博物館藏 Refrescador oval com motivos florais, fornos de Jingdezhen Dinastia Qing, reinado de Kangxi (1662-1722) Colecção do Museu de Guangdong Polychrome oval basin with floral design, Jingdezhen ware Kangxi reign, Qing Dynasty (1662-1722) Collection of Guangdong Museum 景德鎮窯青花花鳥紋蓋盒 明（1368-1644） 廣東省文物考古研究所藏 Porta-jóias azul e branco com tampa e desenho de flores e pássaros, fornos de Jingdezhen Dinastia Ming (1368-1644) Colecção do Instituto de Arqueologia e de Relíquias Culturais da Província de Guangdong Blue-and-white casket with cover and design of flowers and birds, Jingdezhen ware Ming Dynasty (1368-1644) Collection of the Guangdong Provincial Institute of Cultural Relics & Archaeology 潮州窯白釉貼花小瓶 清（1644-1911） 廣東省博物館藏 Garrafa em vidrado branco com motivo floral aplicado Dinastia Qing (1644-1911) Colecção do Museu de Guangdong White glazed bottle with applied floral design Qing Dynasty (1644-1911) Collection of Guangdong Museum 景德鎮窯青花耶穌會章紋蓋罐 清（1644-1911） 澳門博物館藏 Pote com tampa em porcelana azul e branca, com o monograma “IHS”, fornos de Jingdezhen Dinastia Qing (1644-1911) Colecção do Museu de Macau Blue-and-white porcelain jar with “IHS” monogram and cover, Jingdezhen ware Qing Dynasty (1644-1911) Collection of Macao Museum
Transcript of Jingdezhen Blue-and-white porcelain jar with “IHS”Jingdezhen kiln, and the black porcelain by...
hina is distinguished for its porcelain. More than 10000 years ago, our ancestors had already developed a firm grasp of pottery making techniques. During the era of the mid-Shang Dynasty (c. 1600 BC), early pottery items already existed. In the last years of the Eastern Han Dynasty (200 AD), a new type of porcelain, called green-glazed porcelain, appeared. It was glassy, smooth, refined and crisp. The emergence of this new porcelain marked the maturity of porcelain production techniques. Since then, the history of Cathay pottery had been dominated by porcelain. It was an era of pottery prosperity with the co-existence of ceramics and porcelain.
During the Tang Dynasty, kilns specializing in the production of green-glazed, white-glazed, and black-glazed porcelain scattered all over the country. The raw materials and aesthetics for porcelain varied with place and resulted in porcelain with different and distinctive artistic features. In the Tang Dynasty, phenomenal porcelain models began to appear: green-glazed porcelain from Yue kiln (South) and white-glazed porcelain from Xing kiln (North). They were the contrasting yet representative green and white porcelain from two different regions of the country. Porcelain production reached its peak during the Song Dynasty. There were numerous reputable kilns and many more continued to mushroom. For the specialization of green-glazed porcelain, there were the Ru kiln, Longquan kiln, Guan kiln, Ge kiln, Jun kiln and Yaozhou kiln that specialized in the production of green-glazed porcelain; as for the production of white-glazed porcelain, there were the Ding kiln and Jiexiu kiln. Also there were the green and white porcelain produced by the Jingdezhen kiln, and the black porcelain by the Jian kiln and Jizhou kiln.
These porcelain items were all unique in style. The newly-discovered technique of the Jingdezhen kiln produced the renowned blue and white porcelain as well as the underglazed red porcelain. This new technique marked an important contribution to the art of porcelain production. During the Ming and Qing Dynasties, a new page of porcelain history was turned. With Jingdezhen as the center of China’s porcelain industry, its history was further developed.
Chinese porcelain made a tremendous contribution to the cultural heritage of humankind: its large quantity, its refined quality and its elegant styles. It is through Chinese porcelain that the association between people’s materialistic pursuits and desires is reflected. The scientific practicality and artistic aesthetics are unified through the shape of the vessels. Aesthetic qualities such as symmetry, balance, contrast, harmony, proportion, rhythm and so on, all reveal the spirituality and wisdom of the ancient Chinese. It is only through porcelain, a cultural agent, that Chinese people’s practicality and arts are fused; it is through this particular agent that Chinese people’s materialistic wealth and spiritual civilization won the world’s appreciation. The exploration and expansion of the “Maritime Porcelain Road” is the very evidence that describes Chinese porcelain’s advent in the world and its significant historical contribution.
The “Maritime Porcelain Road” generally refers to the sea route that China ships its porcelain to other parts of the world. The route came into being shortly after the establishment of the Silk Road. The route began from the cities along the coastline of China to South East Asia, Sri Lanka, India and then reached the Red Sea, the Mediterranean, the East coast of Africa and Europe. Its vitality began to decline in the Middle Ages. Taking the prosperity of the sea trade, and also with its unique historical status and natural geographic conditions, Macao became an important export city and distribution center of Chinese porcelain since the mid-16th century.
To Macao’s north is the rich and prosperous Pearl River Delta region. The region stretches far
and has abundant resources. Business opportunities for Macao are endless, as it has a close relationship with Europe and enjoys good sea trade conditions. Since the end of the 15th century, merchants from South East Asia and Ryukyu Islands frequently visited Macao. After the Portuguese took permanent residence in Macao in 32nd year of Emperor Jiajing’s reign (1553-1554), more and more trade activities took place; thus Macao became an important international sea trade city. Along with these trade activities came an influx of merchants, travelers, commodities and capital, which provided positive conditions for trade development. In the second half of the 20th century, a large quantity of buried porcelain pieces has been unearthed at many historical sites of Macao. Many of the discovered pieces were produced during the early years when Macao was opened up. Shards of the Kraak porcelain plates and other forms unearthed from the original São Agostinho Monastery and Rua dos Mercadores (Northern ports during the Ming Dynasty) are similar to the pieces found in Europe, the Eastern coast of Africa, the Middle East, South East Asia, Japan and the coastal shores of Americas. This is evidence that Macao has always been one of the most important ports of the global route of the “Maritime Porcelain Road”.
The term “Maritime Porcelain Road”, in today’s perspective, does not simply mean the sea route of ancient times; it is also a synonym for cultural and economic exchange between the East and West. Taking the opportunity of the 30th anniversary of the establishment of the Cultural Affairs Bureau of Macao S.A.R. Government, this joint exhibition “Maritime
Porcelain Road – Relics from Guangdong, Hong Kong and Macao Museums”, is a collaborative effort of the three cities, namely Guangzhou, Hong Kong and Macao. These three cities of the Pearl River Delta Region, from past to present, have been playing an important role as a trading port. The motivation of this exhibition is to explore and present a glorious period of ancient China, the precious creativity and imagination of humankind. As the first stop of the exhibition, Macao will contribute its best to arouse awareness in cultural collaboration and exchange between different regions and ethnic groups. We look forward to greeting all of you at the exhibition hall and we hope that our audience will be enlightened and inspired.
C
景德鎮窯五彩花卉紋橢圓大盆清．康熙（1662-1722）廣東省博物館藏
Refrescador oval com motivos florais, fornos de JingdezhenDinastia Qing, reinado de Kangxi (1662-1722)Colecção do Museu de Guangdong
Polychrome oval basin with floral design, Jingdezhen wareKangxi reign, Qing Dynasty (1662-1722)Collection of Guangdong Museum
景德鎮窯青花花鳥紋蓋盒明（1368-1644）廣東省文物考古研究所藏
Porta-jóias azul e branco com tampa e desenho de flores e pássaros, fornos de JingdezhenDinastia Ming (1368-1644)Colecção do Instituto de Arqueologia e de Relíquias Culturais da Província de Guangdong
Blue-and-white casket with cover and design of flowers and birds, Jingdezhen wareMing Dynasty (1368-1644)Collection of the Guangdong Provincial Institute of Cultural Relics & Archaeology
潮州窯白釉貼花小瓶清（1644-1911）廣東省博物館藏
Garrafa em vidrado branco com motivo floral aplicadoDinastia Qing (1644-1911)Colecção do Museu de Guangdong
White glazed bottle with applied floral designQing Dynasty (1644-1911)Collection of Guangdong Museum
景德鎮窯青花耶穌會章紋蓋罐清（1644-1911）澳門博物館藏
Pote com tampa em porcelana azul e branca, com o monograma “IHS”, fornos de JingdezhenDinastia Qing (1644-1911)Colecção do Museu de Macau
Blue-and-white porcelain jar with “IHS” monogram and cover, Jingdezhen wareQing Dynasty (1644-1911)Collection of Macao Museum
China é reconhecida pela sua porcelana. Mais de 10 mil anos, os nossos antepassados já tinham desenvolvido técnicas de manufactura em barro. Em meados da dinastia Shang (c. 1600 a.C.) a produção de artefactos em barro era uma realidade. Nos finais da dinastia Han (200 d.C.) apareceu um novo tipo de cerâmica, o grés revestido a vidrado verde, (conhecido por céladon). A manufactura deste material vítreo, macio, refinado e quebradiço é um marco na evolução das técnicas de produção da cerâmica. Desde então, a história da cerâmica do Cathay foi próspera e, embora dominada pela porcelana, conheceu a produção de diversos tipos de cerâmica.
Durante a dinastia Tang, apareceram por todo o país fornos especializados na produção de porcelana em vidrado verde, em vidrado branco e em vidrado preto. As matérias-primas e o gosto variavam de lugar para lugar, resultando daí uma grande diversidade de produção. Na dinastia Tang, apareceram exemplares de grande qualidade como as peças de porcelana em vidrado verde dos fornos de Yue (Sul) e outras em vidrado branco dos fornos de Xing (Norte). As peças eram
contrastantes e representavam as porcelanas de duas regiões diferentes. A produção
de porcelana atingiu o seu pico na dinastia Song. Existiam naquela época
inúmeros fornos de reputação firmada e muitos outros continuavam a aparecer.
Entre os fornos especializados na porcelana em vidrado verde destacamos os fornos de
Ru, de Longquan, de Guan, de Ge, de Jun e de Yaozhou; na produção de porcelana em vidrado branco, os fornos de Ding e de Jiexiu eram os mais
famosos. Os fornos de Jingdezhen produziam porcelana em vidrado branco e em vidrado verde e os fornos de Jian e Jizhou produziam porcelana em vidrado preto. Todas estas peças apresentavam estilos diferenciados. A técnica recém descoberta dos fornos de Jingdezhen possibilitou a produção da chamada porcelana “azul e branca” bem como da porcelana decorada em vermelho sob o vidrado. Esta nova
técnica foi uma importante contribuição na arte da cerâmica. Durante as dinastias Ming e Qing, uma nova página foi virada na história da porcelana, com Jingdezhen a ocupar o papel central.
A porcelana chinesa contribuiu enormemente para o legado cultural da humanidade não apenas pela quantidade de peças produzidas, como também pela refinada qualidade dos seus produtos e elegância de estilo. Na porcelana chinesa materializa-se a comunhão entre a funcionalidade e a estética. Na forma de cada peça estão subjacentes questões práticas e de carácter artístico. A estética transmitida pela simetria, o equilíbrio, o contraste, a harmonia, a proporção, o ritmo, etc. revela a espiritualidade e a sabedoria dos produtores chineses
de outrora. Foi através da porcelana que o povo chinês melhor exprimiu a união entre a funcionalidade e a estética, e foi ainda
através da porcelana que o mundo inteiro ganhou apreço pelas conquistas da civilização chinesa. A exploração e a expansão da
Rota Marítima da Porcelana são provas do advento da porcelana no mundo e da sua importância histórica.
A Rota Marítima da Porcelana designa o caminho marítimo percorrido pelos navios que levavam a porcelana chinesa a todo o mundo. Este caminho começou a ser percorrido pouco tempo depois da Rota da Seda ter sido estabelecida. A partir das cidades chinesas costeiras os navios chegavam à costa leste de África e à Europa, atravessando o Sudeste Asiático, o Ceilão, a Índia, o Mar Vermelho e o Mediterrâneo. A vitalidade desta rota começou a declinar na Idade Média. A partir de meados do séc. XVI, Macau, com uma posição estratégica favorável e no decurso de condições históricas únicas, viria a assumir o próspero comércio marítimo e tornar-se um porto de exportação da porcelana chinesa.
A norte de Macau está a rica e próspera região do Delta do Rio das Pérolas, uma região imensa e cheia de recursos. Com contactos tão próximos com a Europa, e condições tão favoráveis para a navegação, muitas foram as oportunidades de negócio para Macau. Desde os finais do séc. XV, comerciantes de outras partes do mundo, nomeadamente do Sudeste Asiático e das ilhas Ryukyu visitavam Macau com frequência. Com o estabelecimento dos portugueses em Macau em 32.º ano do reinado do Imperador Jiajing (1553-1554) a actividade comercial intensificou-se de tal maneira que o pequeno ancoradouro transformou-se num importante porto do comércio internacional. Com esta actividade comercial aumentou o influxo de comerciantes, viajantes, bens e capitais que beneficiaram o desenvolvimento do comércio. Na segunda metade do século XX uma grande quantidade de porcelana foi encontrada em diversos locais de interesse histórico de Macau. Muitas das peças descobertas foram produzidas no período em que o porto de Macau começou a estar mais activo. As peças em porcelana Kraak, descobertas no antigo Mosteiro de Sto. Agostinho e na Rua dos Mercadores (que no tempo da dinastia Ming estaria situado perto do porto interior), são semelhantes às peças encontradas na Europa, na costa leste de África, no Médio Oriente, no sul da Ásia, no Japão e
國是世界著名的陶瓷古國。早在一萬年
前，我們的祖先已掌握了製陶技術。約在公元前十
六世紀的商代中期，已創燒出原始瓷器。到了公元二
世紀東漢末期，一種光潤潔淨、堅致細密、聲音清脆的青釉瓷
面世，標誌着我國造瓷工藝已邁向成熟。從此，華夏陶瓷發展史進入了
以瓷為主、陶瓷並存的共同繁榮新階段。
唐宋時期，製造青瓷、白瓷和黑瓷的窯場已遍佈全國各地。由於各地出
產的製瓷原料及審美習慣的不同，因而形成了各具特色的藝術風格。在唐
代，瓷器已出現典型的代表，南方的越窯青瓷和北方的邢窯白瓷，形成了南
青北白的特色。而宋代的瓷藝更是達到了新的高峰，名窯眾多，名瓷迭現，
諸如青瓷中的汝窯、龍泉窯、官窯、哥窯、鈞窯、耀州窯，出產白瓷的定
窯、介休窯，出產青白瓷的景德鎮窯，出產黑瓷的建窯、吉州窯等等，產品
皆各具特色，獨樹一幟。元代景德鎮窯創燒出“青花”和“釉裡紅”，對製
瓷工藝做出重要貢獻。明、清兩代，以景德鎮為中心的全國製瓷業進一步繁
榮發展，寫下歷史性新篇章。
中國瓷器以其巨大的數量、精美的質量和優雅的造型，為世界貢獻了一
筆豐厚的文化遺產，體現着人類物質生產與生活需求之本質聯繫，器物造
型的科學實用與藝術審美之辯證統一，以及在美學元素中包含着的對稱、均
衡、對比、調和、比例、節奏等法則，無不反映出古代人民的靈性和智慧。
惟其如此，中國瓷器才能在實用性與藝術性的高度契合中，在物質財富與精
神文明的雙重創造中，成為一種文化載體，贏得世人的珍愛。“海上瓷路”
的開闢和拓展，便是中國瓷器走向世界並做出重要歷史貢獻的明證。
海上瓷路是中國向世界各地運送瓷器的海路交通線的總稱，其開通時間
稍晚於海上絲路，繁榮於中世紀以降，自中國沿海地區，經東南亞、斯里蘭
卡、印度，抵達紅海、地中海、非洲東海岸以及歐洲等地。澳門適逢其盛，
自十六世紀中葉開始，以自己獨具的歷史地位和自然地理
條件，成為中國瓷器的一個重要集散地和出口港。
澳門北靠富饒的珠江三角洲，腹地廣遠，資源豐富，市場廣濶，
南向經濟活躍的亞太地區，並與歐洲關係密切，具有良好的海上貿易環境。早
在十五世紀末，東南亞、琉球群島等地區商旅，已乘船來此。自嘉靖三十二年
（1553年至1554年間）葡萄牙人在此定居以後，日趨頻繁的貿易活動，使澳
門一躍成為國際海上貿易中舉足輕重的重要港口，大量商旅、貨物、資金的自
由流動，為貿易發展提供了十分有利的條件。在上世紀下半葉，本澳多處歷史
城區中發現大量出土瓷片，而部份瓷件的燒製年代，與澳門的早期城市開發時
間十分切近，其中聖奧斯定修道院原址及營地大街明代北灣港區出土的克拉克
瓷盤及其他形制的碎片，在歐洲、非洲東海岸、中東地區、東南亞、日本以至
美洲沿岸，均發現類似瓷片，證明澳門是“海上瓷路”環球航線中的重要港口
之一。
如今，“海上瓷路”已不僅用於指稱連接古代世界的海上交通路線，而且
成為東、西方經濟、文化交流的代名詞。今年，藉澳門文化局成立三十周年之
際，並在粵、港、澳文化合作機制下，澳門、香港及廣州三個在歷史上、以至
今天仍擔當着主要角色的港口城市通力合作，共同舉辦《海上瓷路——粵港澳
文物大展》，其宗旨在於以研究及實物展現一段歷史的輝煌，昭示人類擁有之
珍貴創造力和想像力。澳門，作為是次展覽的第一站，定當盡力作出自身的應
有貢獻，並借以引起關於跨越地域、不同民族之間的文化交流與合作的思考。
我們期待着每位走進展廳的觀眾，都能從中獲得珍貴的啟迪和靈感。
nas costas do continente americano. Isto prova que Macau foi sempre um dos mais importantes portos da Rota Marítima da Porcelana.
A designação de “A Rota Marítima da Porcelana” tem, nos dias de hoje, um sentido mais vasto do que o de um simples caminho marítimo; é também sinónimo de intercâmbio cultural e económico entre o Oriente e o Ocidente. No 30.º aniversário da fundação do Instituto Cultural de Macau, apresenta-se a exposição “A Rota Marítima da Porcelana – Relíquias dos Museus de Guangdong, Hong Kong e Macau”, num esforço conjunto de três cidades, nomeadamente de Guangzhou, Hong Kong e Macau. Estas três cidades da Região do Delta do Rio das Pérolas foram, desde o passado até ao presente, importantes cidades portuárias. A principal motivação desta exposição prende-se com a vontade de explorar e de mostrar um período glorioso da China, fruto da criatividade e da imaginação humanas. Sendo Macau o primeiro local de amostra desta exposição, tudo faremos para que a cidade contribua para o
despertar da importância do intercâmbio cultural entre diferentes regiões e grupos étnicos. Todos são bem-vindos à exposição e a todos desejamos
que a visita seja inspiradora e esclarecedora.
A中
廣彩紋章花瓶清（1644-1911）澳門博物館藏
Jarrão Guangcai com as armas da monarquia e legenda “Palácio do Governo de Macau” Dinastia Qing (1644-1911)Colecção do Museu de Macau
Guangcai vase with arms of Macao Governor’s PalaceQing Dynasty (1644-1911)Collection of Macao Museum
綠釉褐斑軍持南宋或元（13-14世紀）香港藝術館藏
Kendi em vidrado verde com manchas castanhasDinastia Song do Sul ou Yuan (séculos XIII-XIV)Colecção do Museu de Arte de Hong Kong
Kendi in green glaze with brown splashesSouthern Song or Yuan Dynasty, (13th-14th Century)Collection of the Hong Kong Museum of Art
陶雙耳壺東漢（25-220）廣東省博物館藏
Pote em barro com duas pegasDinastia Han do Leste (25-220)Colecção do Museu de Guangdong
Pottery pot with two handlesEastern Han Dynasty (25-220)Collection of Guangdong Museum
五彩鳳形軍持明．萬曆（1573-1620）香港藝術館藏
Kendi em forma de fénix com esmaltes WucaiDinastia Ming, reinado de Wanli (1573-1620)Colecção do Museu de Arte de Hong Kong
Kendi in the shape of a phoenix in Wucai enamelsWanli reign, Ming Dynasty (1573-1620)Collection of the Hong Kong Museum of Art
青花克拉克獅子花卉紋瓷盤明（1368-1644）澳門博物館藏
Prato em porcelana azul e branca com motivo de leão e floresDinastia Ming (1368-1644)Colecção do Museu de Macau
Blue-and-white porcelain dish with lion and flower patternMing Dynasty (1368-1644)Collection of Macao Museum
