Update: The small baggage-form teapot with cover by Zhou Dingfang sold for $1,625.
What you see: A small baggage-form teapot with cover by contemporary Yixing [pronounced Yee-shing] potter Zhou Dingfang [pronounced Jo Ding-fong]. Christie’s estimates it at $1,500 to $2,500.
The expert: Rufus Chen, specialist, Chinese ceramics and works of art at Christie’s New York.
The lot notes say Zhou earned “Master Status” in 1995, at the age of 30. What does that mean? Is it similar to the Japanese designation of “National Treasure” status? It’s a relatively different concept. It’s more like a ranking or a job title. If you do beautiful work, you’ll be recognized by the arts and crafts organization with the title.
So the big deal here is that she earned “Master Status” so young? It’s not a unique status. Multiple people have the same title. That’s a young age for a Chinese artist [to earn the title]. She’s a very accomplished and talented artist.
What do we know about her working process? How did she make this? Unlike a lot of blue and white pottery, one artist does it from beginning to end. The artist comes up with the design they want to produce, and they find the right clay in the right color. She used some kind of tool to achieve the soft, leather-like look in the work. It could have been many different tools. It was not done by machine.
Is this piece unique, or is it part of a limited edition? I wouldn’t say the piece is unique. I’ve seen other versions of the small suitcase. I don’t know how many exist, but there are at least five others. It’s normal for a Yixing potter to make several.
Is there a date on this piece? It was the early 1990s when this piece was designed and made.
Is this the first example of her creating a piece that looks like leather? Probably not. She’s known for her obsession with texture. Another in the sale, lot 54, is more like a leather pouch. That’s also from the early 1990s. She’s known for making leather-like, textured work.
What is your favorite detail on this piece? All the details are so lifelike and well done. The clay used to make the pot, purple clay, is known for its flexibility for molding and sculpting. It allows artists to achieve a very detailed kind of work.
Purple clay? Does it have a purple color? When we say “purple clay,” it’s a collective name for all clay [from the region in China where it is found]. One has a purplish tone, one has a greenish-buff color, and one has a cinnabar orange-red color. By mixing the three clays, you can achieve a wide range of tones and colors.
Is the clay giving the pot its convincing leather coloration, or is she achieving that with glazes? It’s not glaze. It’s the clay body itself. She may have polished the surface to achieve a sheen. It’s really nice when you hold it in person.
Since you mention it, what is it like to hold this piece? It’s very delicate, very lifelike. For this particular piece, the surface does resemble real leather. It reminds me of a real little leather suitcase. It’s very intricate, very well-designed, well made.
And it’s tiny–less than five inches across. Does that mean it’s light? In terms of weight, it’s not heavy.
I realize it’d be insane to brew tea with this, but can it be used as a teapot? If you want to, it can. But it should be perceived as a piece of art, and it’s also small. I don’t know, if you brewed tea, how much tea [it would yield]. There’s probably a little amount of water it could hold. Normal [Yixing pottery teapots] for brewing tea are not ornately decorated. They’re in plain geometric shapes.
Was this piece commissioned by the Irvings, or did the artist make it without a client in mind? I think she just made it. I don’t think the Irvings commissioned it from her. When the Irvings collected it in the 1990s, and even to this day, it’s not the typical [piece] collectors would collect.
What is more typical for collectors to collect? Porcelain with more typical works of art that you see in the auction market. They have those too, but this is a very interesting aspect to their collection.
I understand Zhou Dingfang has connections to the makers of other works in the auction. What are these connections? A lot of Yixing artists are born and raised in Yixing, and work in Yixing. It’s an interesting aspect to this catalog. Zhou Dingfang learned under Xu Xiutang, the maker of lot 50. And Zhou Dingfang was classmates with Lu Wenxia, another female artist in the sale. There are several from her, including lots 34, 35, and 36. Both Zhou Dingfang and Lu Wenxia were students of Xu Xiutang.
Is this the first time works by Zhou Dingfang have been auctioned in the west? I found examples being sold a few years ago, but in general, you don’t see work by contemporary Yixing artists in western auctions. This is a unique opportunity to collect contemporary Yixing wares.
Are they commonly auctioned in the east? Yes.
Do you have the world auction record for Zhou Dingfang at auction? It would have been set in the east, yes? China has more records than the western world in general. I don’t have the exact price [of her auction record].
Is this the first time several of her works have gone to auction in the same western sale? This is a unique case. All [the lots] come from the same collection, the Irving collection. It’s interesting to see how it will perform.
Why will this piece stick in your memory? It’s beautiful, and its texture is amazing. It’s so intricately and delicately made. It’s a beautiful piece of art.
Text is copyright Sheila Gibson Stoodley. Image is courtesy of Christie’s.
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