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AN EXTREMELY RARE PAINTED POTTERY FIGURE OF A BIRD, LATE NEOLITHIC PERIOD, QIJIA CULTURE
奥地利
10月15日 下午5点 开拍 /13天17小时
此拍品禁止/限制出入境
拍品描述 翻译
AN EXTREMELY RARE PAINTED POTTERY FIGURE OF A BIRD, LATE NEOLITHIC PERIOD, QIJIA CULTURE

Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 3 August 2026, based on sample number C126j50, sets the firing date of two samples taken between 2800 and 4200 years ago, consistent with the dating above. A third sample taken from under the back of the body was made of unfired material and thus could not be dated. A copy of the report accompanies this lot.

China, Gansu and Eastern Qinghai Province, c. 2050-1700 BC. Boldly modeled, the avian with an ovoid body supported on a tapered foot and extending into a long neck that rises vertically to an abstracted head with open beak, all boldly painted in sepia on the yellow earthenware with cross-hatched patterns and rhomboidal motifs arranged in a series of registers.

Provenance: The private collection of a Swedish missionary, assembled in Gansu Province, China, during the 1940s, and thence by descent. Collection of Lennart Utterstr?m, Sweden, by 2011. Collection of Dr. Erik Lampl, Paris, acquired from the above. A copy of the purchase agreement between Lennart Utterstr?m and Erik Lampl, detailing a down-payment plan starting July 2011 and stating a purchase price for the present lot of SEK 85,000 or approx. EUR 10,500 (converted and adjusted for inflation at the time of writing), accompanies the lot. Lennart Utterstr?m (b. 1948) is a Swedish visual artist, writer, and former journalist whose work reflects a lifelong engagement with Asian culture, history, and aesthetics. After an early career writing on international affairs and education, particularly in East and Southeast Asia, he devoted himself increasingly to the visual arts, producing paintings, drawings, prints, and ink works inspired by both Scandinavian and Asian artistic traditions. His publications include works on Chinese art and exhibitions of his own artwork. He also has a background as an art professor at Hengyang Normal University in Hunan, China, an experience that further shaped his cross-cultural artistic practice and deep connection with Chinese art and education.
Condition: Good condition, commensurate with age. Expected wear, firing irregularities, traces of weathering, signs of prolonged burial, few old repairs, rubbing and losses to pigments with minor touchups, light nicks and surface scratches. Three small holes from sample-taking, now filled.

Weight: 1.3 kg
Dimensions: Height 28.4 cm

The Qijia culture, an early Bronze Age culture of northwestern China, succeeded the neolithic Majiayao culture, inheriting many of its ceramic traditions while introducing new technological and stylistic features. Although painted pottery is less abundant than in the preceding Majiayao tradition, Qijia ceramics are generally more refined, particularly in comparison with those of the Machang phase. Its principal ceramic production comprised plain orange-red earthenware together with red wares coated with a white slip, while the repertoire of vessel forms was remarkably varied, including such characteristic types as small cups and bird-shaped jars, exemplified by the present lot, numerous examples of which have been recovered from archaeological excavations. Distinguished by their thin walls and relatively high firing temperatures, Qijia wares demonstrate a notable degree of technical sophistication. For a discussion of Qijia ceramics, see Simon Kwan, Chinese Neolithic Pottery, 2005, p. 35.

Literature comparison:
Compare a related yellow pottery bird-shaped jar, dated c. 2050-1700 BC, 21.6 long, illustrated in Simon Kwan, Chinese Neolithic Pottery, 2005, p. 216, no. 89. For a similar decorative scheme of diagonal lines, compare a related painted pottery jar with similar wicker patterns, dated c. 2050-1700 BC, 19 cm high, illustrated ibid., p. 248, no. 105.

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