The bowl has gently rounded sides, rising to a slightly everted rim decorated with four lobes in dark brown, the interior freely painted with a spiral motif in iron-brown and copper-green on a greenish-cream-coloured ground. The lower part of the outside body and the base unglazed.
Period: Tang Dynasty, 9th Century
Size: Diameter 15 cm, height 5.2 cm
Condition: Good condition, minor wear, some glaze loss to the rim and outside body, no cracks or repairs found under UV-light.
Provenance: From an old Bavarian private collection, collected since the 1960s.
SKU: 103
References: More than 50000 painted Changsha bowls were found in the Belitung shipwreck and are now in the Art Science Museum in Singapore.
A similar bowl was excavated from the Changsha kiln site, Wangcheng county, Hunan province and is illustrated in Complete Collection of Ceramic Art unearthed in China – Hubei Hunan, Zhang Bai, Science Press, Bejing, 2007, Plate 149.
More info: Changsha ware
Motifs on Changsha bowls from Belitung shipwreck
The Changsha bowls found in the Belitung shipwreck are fascinating artifacts that reveal both the commercial reach and aesthetic tendencies of the time. Discovered off the coast of Indonesia, this shipwreck contained thousands of ceramics among other treasures, indicating a flourishing trade route between China and the Middle East via Southeast Asia. The bowls from Changsha kiln, in modern-day Hunan province, display a range of painted motifs that reflect both the Tang dynasty’s artistic culture and the regional adaptations made to appeal to diverse markets.
Floral and Botanical Motifs
Floral designs were particularly popular and frequently painted on Changsha bowls. Lotus flowers, peonies, and other stylized plants appear in many variations, often painted in a single or two-tone color scheme (typically green and brown underglaze). These floral motifs could symbolize purity, prosperity, or cultural refinement. They also represented harmony with nature, an important theme in Tang-era art.
Abstract and Geometric Patterns
The Changsha bowls often feature abstract, almost minimalist designs, such as dots, waves, and cross-hatched lines. These designs, while simple, create a sense of movement and rhythm around the bowl. The abstract motifs may have been a pragmatic choice by artisans, as they are quicker to execute and visually appealing from a distance, making them suitable for trade. Additionally, such designs likely held appeal across various cultural audiences.
Fish and Aquatic Life
Fish motifs on Changsha ceramics are believed to represent abundance and prosperity, symbols that resonated well in both domestic and foreign markets. These depictions were relatively simple, often showing a single fish or pairs, stylized with minimal detailing. Fish as a motif held cultural significance within Chinese symbolism, representing wealth, luck, and harmony, thus offering appealing meanings for diverse buyers along the maritime Silk Road.
Human Figures and Narrative Scenes
Some Changsha bowls include rare representations of human figures, such as scholars or travelers, usually in simplified brush strokes. These scenes could depict common life or abstract narratives that added an exotic and humanizing appeal to the pottery. However, such figurative depictions are less common than the floral and abstract motifs, suggesting that they might have been commissioned pieces or intended for special customers.
Religious and Mystical Symbols
Some bowls are painted with symbols and motifs that hint at Taoist or Buddhist influences, such as cloud patterns, flames, or even lotus imagery adapted with a mystical aesthetic. These motifs might have been intended for spiritual-minded clients, as Taoism and Buddhism were both prominent in the Tang dynasty. They would have attracted buyers who found meaning in these symbols, whether from Southeast Asia or other regions involved in the trade.
Calligraphy and Poetic Inscriptions
A unique feature on some Changsha bowls is the presence of calligraphy, where short inscriptions or poetic verses appear. These phrases could be expressions of goodwill, blessings, or philosophical reflections, intended to give each bowl a personalized or auspicious touch. For instance, phrases wishing "long life" or "happiness" were common, providing an appealing and distinctive feature in export ceramics.
Stylistic and Functional Considerations
The painting techniques used for these motifs were often quick and fluid, reflecting an efficient production process. Changsha artisans used underglaze painting with simple brushstrokes, often in just one or two colors, primarily brown, green, or sometimes a reddish tone. The simplicity and repeated designs made these bowls highly functional for mass production, allowing Changsha ceramics to become one of China’s earliest known export wares in substantial quantity.
