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

A very similar vessel of slightly larger size is illustrated by Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-Glazed Ceramics, 400-1400, Cambridge, 1996, pp. 265-267, no. 110, where the author notes that Chinese authors sometimes refer to the decoration on these jars as “sheng-wen” (cord-marked) or “naiding, liudou wen” (boss and willow-basket) pattern. Mowry notes very similar sherds from jars of this type published by Hughes-Stanton and Kerr, Kiln Sites of Ancient China, London 1981, pp. 38, 50, and 141, nos. 251-252, and accordingly proposes the kilns at Qili, Ganzhou, Jiangxi province as the most likely place of production.

Another very similar jar of this type and size excavated at Qingjiang, Jiangxi province from the tomb of Madam Yang, dated by epitaph to the seventh to ninth years of the Qiandao reign (A.D. 1171-1173) is illustrated by Liu, Dated Ceramics of the Song, Liao, and Jin Periods, Beijing, 2004, p. 117, fig. 8-8.

Compare also the similar examples in the Percival David Foundation of Chinese Art, London, illustrated by Tregear, Song Ceramics, London, 1982, p. 194, pl. 265; in the Metropolitan Museum of Art, New York, illustrated by Valenstein, A Handbook of Chinese Ceramics, Rev. Ed., New York, 1989, p. 120, no. 117; and in the National Museum of Korea, published in the catalogue of the Special Exhibition of Cultural Relics Found Off Sinan Coast, Seoul, 1977, no. 237.