Thick Potted, of shallow straight cylindrical body , banded lips, all reserved in pale creme crackled glaze. Has a grayish-creme glaze that is fully opaque with an almost matte finish. Its crackle pattern is exaggerated, standing out in bold black.

Dimension: 2-1/8" H x 6-1/2" W

The Sale Will Benefit IFGF Church of Atlanta

LOT NOTES
Ge (Wade Giles : ko), literally means 'big-brother' ware, because legend has it that of two brothers working in Longquan, one made the typical celadon style ceramics, but the elder made ge ware, produced in his private kiln. Ming commentator, Gao Lian claims that the ge kiln took its clay from the same site as Guan ware, which is what accounts for the difficulty in distinguishing one from the other (though Gao thinks "Ge is distinctly inferior" to Guan).[38] Overall, Ge remains somewhat elusive, but basically comprises two types?one with a ?warm rice-yellow glaze and two sets of crackles, a more prominent set of darker colour interspersed with a finer set of reddish lines (called chin-ssu t'ieh-hsien or ?golden floss and iron threads?, which can just faintly be detected on this bowl).[39] The other Ge ware is much like Guan ware, with grayish glaze and one set of crackles. Once thought to have only been manufactured alongside Longquan celadon, per its legendary founding, Ge is now believed to have also been produced at Jingdezhen.[40]
While similar to Guan ware, Ge typically has a grayish-blue glaze that is fully opaque with an almost matte finish (as seen on this bottle in the Asian Art Museum).[41] Its crackle pattern is exaggerated, often standing out in bold black. Though still shrouded in mystery, many specialists believe that Ge ware did not develop until the very late Southern Song or even the Yuan. In any case, enthusiasm for it persisted throughout the Ming; Wen Zhenheng preferred it to all other types of porcelain, in particular for brush washers and water droppers (although he preferred jade brush washers to porcelain, Guan and Ge were the best ceramic ones, especially if they have scalloped rims). Differences between later Ming imitations of Song/Yuan Ge include: Ming versions substitute a white porcelain body; they tend to be produced in a range of new shapes, for example those for the scholar's studio; glazes tend to be thinner and more lustrous; and slip is applied to the rim and base to simulate the "brown mouth and iron foot" of Guan ware.[42]