Yunnan Lobed Pot

c. 1800

$580

Make an Offer

Dimensions

H: 11.25" Dia: 10.0"

Materials

Materials
Terra Cotta

Purchase Quantity

Collection #

TLC072N

Estimated Shipping

$25

Cloaked in a beautifully irregular brown-green slip finish, this 19th-century earthenware pot was charged with the humble task of storing dry goods in a Qing dynasty kitchen. The lobed pot has a round form with a narrow base and a tall neck flanked by two small strap handles. Fluid, all-over ribbed designs stretch across the surface of the jar, a utilitarian texture that provides additional exterior grip. The jar has a quiet beauty, patterned by rhythmic grooves to enliven its modest, provincial construction. The chiseled surface of the pot has weathered with time, developing subtle color variation and adding rich character to the terra cotta.

Additional Dimensions:
Diameter of Opening: 4.75"
Diameter of Base: 5.25"

Questions? Ask us

Blue & White Porcelain

Soon after its development in the Yuan dynasty (1271–1368 AD), blue-and-white underglaze porcelain became a favorite of the imperial court. Its broad appeal rapidly extended beyond China’s borders, becoming a lucrative export commodity highly sought after in Europe, the Middle East, and beyond.

Using cobalt imported from Western Asia, ceramic artists ground the mineral into a vibrant blue pigment that was then painted directly on a porcelain base, coated with clear glaze, and fired. This underglaze technique brought with it a shift in focus from the overall shape of a vessel to the skill and artistry traceable in its painted decoration.

Transcending time and taste, blue-and-white porcelain continues to be appreciated around the world for the intricate brushwork and brilliant blue color.

Michael Thompson

b. 1951

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past & present.

His body of work spans across a range of art forms, from experimental postal art to paper collage to sculptures assembled from scrap metal and ceramic shards.

Regardless of the medium, each of Thompson’s works is layered with fragments of past lives and bygone memories, measured in the form of antique fabric remnants, printed ephemera and other found elements collected during his travels.