J.J. Lally & Co., Oriental Art / New York City, New York

A similar Jizhou tea bowl decorated in the same technique with the same motif in the collection of the National Museum of China is illustrated by Peng in Ya su zhi jian: Jizhou yao (Jizhou Kiln), Beijing, 2007, p. 100, no. 57. Another similar example in the Asian Art Museum of San Francisco, from the collection of Avery Brundage is illustrated by He, Chinese Ceramics: The New Standard Guide, London, 1996, p. 164, no. 301; also illustrated by Bickford in Bones of Jade, Soul of Ice: The Flowering Plum in Chinese Art, New Haven, 1985, p. 203, fig. 90; and another similar example is illustrated by Wirgin, ‘Some Ceramic Wares from Chi-Chou,’ B.M.F.E.A. Bulletin, No. 34, Stockholm, 1962, pl. 6-b.

Compare also the Jizhou bowl of this type in the collection of Harvard University Art Museums, illustrated by Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Cambridge, 1996, pp. 237-238, no. 94, where the author observes “Although they are usually said to be painted in slip, overglaze buff designs of this type were most likely painted on the raw glaze surface using a wood- or bamboo-ash paste that perhaps included an admixture of slip.”