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Photograph courtesy of Harvard Art Museums; ©President and Fellows of Harvard College
Even the Qing emperors, nearly four centuries ago, recognized Song dynasty (960-1279) Jun ware—a distinctive opalescent blue, sometimes splashed with organic-seeming, almost foliate lobes of plum—as one of the five great achievements of China’s astonishing ceramic legacy. In contemporary perspective, Jun techniques in fact persisted much longer, at least into the Ming era (1368-1644): the fourteenth and fifteenth centuries.
Photograph courtesy of Harvard Art Museums; ©President and Fellows of Harvard College
 
One unusual set of such vessels is the subject of Harvard Art Museums’ exhibition “Adorning the Inner Court,” on display through August 13. For his fiftieth reunion, Ernest B. Dane, A.B. 1892, and his wife, Helen Pratt Dane, donated a ceramic and jade collection to the museum, including 60 pieces of “Numbered Jun” ware: various lobed and rectangular pots (with holes to drain water) and footed basins, mostly. All are numbered (1 for largest, 10 for smallest), and from inscriptions on the bottom, imperial collection catalogs, and scenes in a few paintings, they appear to have been used for growing bulbs and small plants in the Forbidden City. Dworsky associate curator of Chinese art Melissa Moy, who began studying the pieces (about half of which are exhibited) for her master’s thesis, notes that some of the inscriptions tie to the Hall of Mental Cultivation and other rooms in the palace.

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