Of extraordinary size, the jar is of expansive ovoid form, curving gently to the cylindrical neck which splays gracefully to the dished mouth circled with groves. Four double-strand loop handles are pressed high on the shoulder at the base of the neck. A short faceted tubular spout is affixed lower on the shoulder midway between two of the handles. The thin greyish—green glaze covers the vessel inside and out, pooling to a pale blue color where it collects on the rim and exhibiting dark-colored iron spit outs and specks, small breaches and tiny cracks. The unglazed base displays circular marks on the light grey stoneware body from the turning wheel and random reddish-orange burn marks are visible from the firing.
A vessel excavated in Zhejiang province similar to the present from a tomb datable to AD 483 is but one example that supports a 5th-century date for the present ceramic (fig. 1). Although unusually large, the present jar is in fact otherwise typical of products that developed at the Yue kilns in Zhejiang province during the 5th-6th century, directly in the tradition one line of their 3rd-4th century predecessors. The precursors overall covered many bases stylistically and as the Six Dynasties period progressed, influence from Buddhist sculpture and the ceramics following suit in the north, also impacted style. This gentle giant, however, represents the most understated of the Yue wares of this time, free from decorative flourishes and complications, an undercurrent that would flow into Sui-Tang Yue ceramic style.
Fig. 1: Yue-ware celadon jar, excavated in Xinchangxian, Zhejiang province, from a tomb datable to A.D. 483, Southern Qi dynasty, after Zhejiang ji’nian ci, Beijing, 2000, pl. 145.
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