The Six Surviving Ru Kiln Narcissus Basins: Beauty, Rarity, and Mystery
Among the treasures of Chinese ceramics, Ru ware holds an almost mythical status. Produced for only a few decades during the Northern Song dynasty (960–1127), Ru ware was reserved for the imperial court and is renowned for its jade-like “sky after rain” glaze. Among its rarest surviving forms is the oval narcissus basin with four short feet— a vessel so scarce that only six authentic examples are known today.
1. The Jilin Provincial Museum Basin,China
Housed in the Jilin Provincial Museum this basin is one of the finest examples of the form.
Craftsmanship: It features the characteristic oval body with four squat feet, fully covered in the luminous celadon-blue glaze.
Crackle pattern: Fine “crab claw” crackles spread across the surface, a hallmark of Ru ware’s natural crazing effect.
Imperial connection: As with most surviving Ru wares, it was almost certainly produced for the Northern Song court, symbolizing the refined taste of the era.
2–5. The Taipei Palace Museum Basins,China
The National Palace Museum in Taipei houses four narcissus basins, making it the single largest collection of this form. Among them, one piece stands out as truly exceptional:
The Unique Unglazed-Crack Basin
One of a kind: Unlike almost all other Ru wares, which show visible crackles in the glaze, this basin is completely smooth and without crazing — making it the only known “flawless” Ru basin in existence.
Dating: Scholars trace it to the reign of Emperor Huizong (1086–1106), about 1,000 years ago.
Technique: Mold-formed, with no visible seams in its body, it showcases the precision of Song artisans.
The Mystery of Its Function
Was it truly for arranging narcissus flowers, as its name suggests? Evidence tells a more curious story:
In 1761, Emperor Qianlong of the Qing dynasty inscribed a poem on its underside, calling it a "dog bowl for a pug".
In 1773, court officials suggested it was instead a feeding bowl for cats.
Despite these remarks, Qianlong himself recognized it as a Northern Song imperial relic, far too refined to be a mere pet dish.
This debate has fueled centuries of speculation. Whether intended as a flower vessel, a daily-use basin, or simply a decorative object, its aura of mystery only deepens its cultural value.
6. The Osaka Museum of Oriental Ceramics Basin,Japan
The final surviving piece resides in the Museum of Oriental Ceramics in Osaka, Japan.
Provenance: Likely brought to Japan centuries ago by collectors who valued Ru ware as the pinnacle of Chinese ceramic artistry.
Aesthetic traits: Its glaze exhibits the subtle bluish-green tone that Song literati compared to “the color of the sky after rain.” The delicate crackle pattern reflects both natural firing processes and the passage of time.
The Enigma of the “Narcissus Basin”
The term “narcissus basin” suggests a vessel for arranging flowers, yet Song dynasty records never explicitly confirm this use. The Qing dynasty reinterpretations — as pet bowls — add another layer of intrigue.
Perhaps these vessels were versatile, used at times for plants, at times as refined containers, or purely as decorative luxuries for the court. What remains certain is that their artistry, rarity, and imperial associations make them some of the most precious artifacts in Chinese ceramic history.
Only six Ru ware narcissus basins survive today — one in Jilin, four in Taipei, and one in Osaka. Each is a window into the sophistication of Northern Song court life, embodying both the technical mastery of Ru kilns and the cultural imagination of later dynasties.
Whether as a flower basin, pet bowl, or imperial treasure, these basins remind us that the value of an object is not only in its material form but also in the stories and mysteries it carries across centuries.