The small, deep receptacle is covered by a compressed dome-shaped lid of similar depth and height. The lid is surmounted by a twig-shaped knop at the center of a double circle from which strongly carved, large, overlapping lotus petals with deeply engraved spines descend over the lid. The light grey stoneware is covered, save for the inside of the lid, with a glassy, clear olive-green glaze with strong crazing throughout. The base is slightly bowed, surrounded by a vestigial foot with encrustations.
Despite the depth and power of its symbolism–an embodiment of purity, nobility, wealth, abundance, elegance, everything morally good or to be wished for, the lotus became, soon after its introduction to China with Buddhism, a familiar, ubiquitous and even commonplace motif. What other flower in the repertoire of decorative motifs of the Chinese artist and artisan was so versatile, adaptable, and accommodating? Whether depicted as a naturalistic blossom or as a device to define spaces or to provide clothing, so to speak, with its embracing petals, as in the present example. once it arrived, it was there to stay.
In the late stages of Yue ware production during the Northern Song period before Longquan became the predominant source of celadons in Zhejiang province, small boxes were made in quantity and variety at Yue ware kilns. They were multifunctional. They were useful and simultaneously ornamental, decorative baubles wherever they might be placed—on a dressing table or a writing desk, gifted to the deceased in the Philippines or accompanying sutras in Japan to their safe places.
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