An Archaistic Bronze-Inspired Chinese Hu-Type Vase with Fixed Ring Handles: Original Portable X-Ray Fluorescence Data, Satin-Matte Glaze, Horizontal Ribbing, and a Comparative Reference Dataset for Guan–Longquan Celadon Research

Nona DronovaIndependent Researcher2026 Original Research Article | Chinese Ceramic Archaeometry | Comparative Materials Analysis Abstract This paper presents the first documented analytical study within the present research project of a Chinese archaistic ceramic vase, designated Sample No. 9, characterized by a bronze-inspired hu-type profile, pronounced horizontal ribbing, paired fixed ceramic ring handles, a grey-olive satin-matte glaze, and a dark annular foot. The vessel's visual design imitates several features associated with ancient Chinese bronze vessels. In particular, the contrast between lighter raised ribs and darker recessed grooves produces a patinated-metal appearance. The paired ring-shaped handles, although recalling suspended bronze fittings, are immobile ceramic elements integrated into the vessel's structure. A non-destructive portable X-ray fluorescence (pXRF) examination recorded silicon at 35.23 wt%, calcium at 8.943 wt%, aluminium at 6.69 wt%, potassium at 3.826 wt%, and iron at 0.662 wt%. Additional constituents include manganese (556 ppm), rubidium (629 ppm), strontium (117 ppm), zirconium (81 ppm), and barium (317 ppm). The results were compared with an independently documented bamboo-neck celadon vase, Sample No. 8, examined within the same research project. The two measurements exhibit exceptionally close calcium concentrations of 8.943 and 8.953 wt%, respectively, as well as similar iron, potassium, aluminium, rubidium, and strontium values. Published examples of Southern Song and Yuan Longquan and Guan-type ceramics establish the historical relevance of bronze-inspired vessel forms, ring handles, horizontal relief decoration, and calcium-bearing celadon glazes. The present work introduces an original object-specific dataset and proposes a reproducible comparative framework for investigating archaistic Chinese ceramic vessels with bronze-inspired morphology and subdued celadon surfaces. The study identifies a close analytical relationship between Samples Nos. 8 and 9 while distinguishing compositional similarity from proof of common manufacture or archaeological provenance. Keywords: Chinese ceramics; archaistic vase; hu-type vessel; bronze imitation; fixed ring handles; horizontal ribbing; satin-matte glaze; portable X-ray fluorescence; Guan ware; Longquan celadon; Southern Song; Yuan dynasty; comparative archaeometry; ceramic reference dataset. 1. Introduction The imitation of ancient ritual bronze vessels represents an important tradition in Chinese ceramic history. During the Song dynasty, the renewed study and collection of antiquities encouraged the adaptation of earlier bronze forms into ceramic materials. Potters reproduced the silhouettes, handles, decorative registers, and proportions of ancient ritual vessels while exploiting the optical and technological possibilities of high-temperature glazes. Such works did not necessarily reproduce the physical function of their bronze prototypes. Instead, they transformed the visual language of antiquity into ceramic objects suited to contemporary ritual, display, and scholarly appreciation. The present paper investigates a distinctive example of this artistic approach. Sample No. 9, provisionally designated the Archaistic Ribbed Hu-Type Vase, possesses a flared mouth, elongated neck, rounded expanding body, repeated horizontal ribs, and two fixed ring-shaped ceramic handles. Its grey-olive surface has a satin-matte appearance with fine mottling and darker coloration in the recessed portions of the relief. The vessel was examined through photographic documentation and portable X-ray fluorescence spectroscopy. A central objective of the study is to compare its chemical profile with Sample No. 8, a bamboo-neck celadon vase from the same research collection. The investigation addresses three principal questions: What elemental characteristics are present in the analyzed surface of Sample No. 9? How do its morphology and glaze appearance relate to documented archaistic Guan and Longquan ceramics? How closely does its measured elemental profile correspond to that of Sample No. 8? The resulting evidence provides an original basis for future comparative research. 2. Historical Context: Chinese Ceramic Imitations of Bronze 2.1. Antiquarianism during the Song dynasty The Song period witnessed renewed interest in the classification, collecting, and interpretation of ancient ritual objects. Bronze vessels of the Shang and Zhou dynasties were studied as material expressions of classical ritual culture. Their forms became models for later objects produced in bronze, jade, lacquer, and ceramic materials. The hu vessel, generally characterized by a substantial body, relatively narrow neck, and expanded mouth, was among the forms repeatedly adapted. The ceramic versions often retained distinctive structural features of bronze prototypes, including projecting handles, decorative bands, and segmented surfaces. 2.2. Guan ware and official ceramic production The Southern Song court established itself at Lin'an, present-day Hangzhou, after 1127. The production of Guan ware became closely associated with the ceremonial and aesthetic requirements of the imperial household. Archaeological investigations at Laohudong and Jiaotanxia have provided substantial evidence for the materials and techniques used in Southern Song official-kiln production. Guan glazes are especially notable for their complex optical properties, subdued colors, thick glaze layers, and characteristic crackle. Scientific investigations have linked these effects to glaze formulation, firing conditions, microstructure, and the relationship between glaze and ceramic body. 2.3. Longquan and the bronze-inspired ceramic tradition The Longquan kiln complex in Zhejiang was another major producer of high-quality celadon ceramics. Longquan workshops manufactured numerous vessel forms inspired by ancient ritual bronzes. These included hu, gu, zun, and related shapes. The production of Guan-type celadons at Longquan also demonstrates the interaction between official-kiln aesthetics and regional ceramic manufacture. The distinction between Guan and Guan-type Longquan wares is therefore essential when interpreting vessels with overlapping formal and technological characteristics. 3. Description of Sample No. 9 3.1. General morphology The vessel has a broad outward-flaring mouth, a relatively long neck, sloping shoulders, and a body that expands downward before contracting toward a comparatively narrow foot. The mouth rim is rounded and visually substantial. The overall profile resembles the family of archaistic hu-type vessels inspired by ancient bronze forms. The vessel is vertically symmetrical in its principal architecture. 3.2. Horizontal ribbing A defining characteristic of Sample No. 9 is its repeated horizontal relief decoration. The ribs are distributed across the neck, shoulder, and body. They create alternating raised and recessed zones. The ribs are not simply painted lines. They are structural features of the ceramic surface. The elevated portions appear relatively light, while the grooves appear darker. This contrast contributes strongly to the impression of aged, patinated bronze. The regularity of the relief also emphasizes the careful execution of the vessel. 3.3. Fixed ring-shaped handles The vessel has two symmetrically arranged handles attached to its upper body. Each consists of a projecting sculptural lug and a ring-shaped ceramic element. The ring elements are immobile. They are therefore best described as fixed ceramic ring handles rather than functional suspended rings. This distinction is technologically significant. The handles reproduce the visual vocabulary of bronze fittings while adapting their construction to the properties of ceramic material. The resulting design emphasizes the appearance of an ancient metal vessel rather than the mechanical function of movable bronze rings. 3.4. Glaze color and reflectivity The surface is predominantly grey-olive, with darker brown-grey and graphite-like areas. Its reflectivity is subdued. Soft highlights occur on the raised portions of the relief, whereas the recessed grooves are more strongly shaded. The overall appearance is satin-matte rather than uniformly glossy. The glaze exhibits a finely mottled texture visible in the close-up photographs. The visual effect resembles the irregular patina of aged bronze. This description refers to the appearance of the ceramic surface and does not imply the presence of a metallic bronze coating. 3.5. Base construction The underside photograph shows a dark brown annular foot surrounding a recessed grey-green glazed center. The transition between the dark foot and the glazed center is sharply defined. The recessed central surface displays fine mottling and subtle linear features. The foot provides an important morphological comparison with other Chinese high-temperature ceramic traditions. No separate elemental measurement of the dark foot is included in the present dataset. 4. Materials and Analytical Methods 4.1. Object identification Object: Archaistic ribbed hu-type vaseSample ID: 9Project designation: vaza poloskaCollection: Private research collectionAnalytical method: Portable X-ray fluorescenceMeasurement mode: In situAcquisition time: 45 seconds 4.2. Photographic documentation The available visual record consists of: An overall photograph of the vase. A close-up photograph of the fixed ring handles and ribbed surface. A magnified image showing the fine surface texture and a dark recessed boundary. A photograph of the underside and foot. The targeting image included in the pXRF report. These images were examined for vessel geometry, relief structure, glaze appearance, and the relationship between lighter and darker surface zones. 4.3. Portable X-ray fluoresc