Page 21 - Important Chiense Ceramics and Works of Art, Christie's.pdf

2905 Continued

The current ewer has an illustrious provenance, formerly ᚺջ᭦ᦼ㬪Ɽ≢卿Ὅ㋏ᛓ⎉ⰰǮ⡠㱈Ǯ㙁௛卿㛢ᝳ㞒ഌ⎏⚇ⓓ卿
belonging to the esteemed Manno Art Museum in Japan. The ἃԋஇ㪃≢टᔘ㧷⹎὞ᙲᜀ㎜ǯங୍㌥⎏໶⚨❖↚߰ᄟӴ卿᭦
late Mr. Yasuaki Manno, founder of the museum, was one ᦼ≢Ӭᘛ݉㬪Ɽ⠈℠㎣ᘞԠ㰍卿㙁႙㍩ᇑᝤ⡿⮏Ǯ㇧ᙃ厎ऱᛞ
of the greatest Japanese collectors of Oriental ceramics in
the Kansai area of Japan during the second half of the 20th 㧿୬ἃ㬪Ɽ㟨ᙠ჎ᶉᝳḼᲶӶӬ⎏㦜㥯ᙚ卿ռ⡠㱈Ӷᝯ㙞ᙻߴ
century. Passionate about Japanese and Chinese art, Mr. ័卿ᛓս᭦ᦼ㬪Ɽ≢⥙ᛓᘶ⎉Ӭ♎ᄂ㬱ࣽӶഔ᰻ᷘ⎏⧻ዷ卿Ӭ
Manno came to represent a very defined and refined Japanese ⏜ἃᇌӽᏒփǯ
taste in Chinese ceramics in the post-war period. One of the
most important pieces that he collected was a Ding russet- ⎉ⰰᙹ㬷卿᭦ᦼ㬪Ɽ⊇⎏㟨ᙠᐂ㇑݉ջࣿᰪ᫋ង卿Ԗ㇝׹⯇᯳ᙱ
splashed black-glazed bowl, which was sold for US$4,212,500, ஠ࢥ卿Ք࣊Ꮢ㋵⎏Ǹ⼖㿡㫘㬪ǹǮᎵǸ⼖᯵᳥㬪ǹǮǸ㙀׹ホ
at Christie’s New York, 22 March 2018, lot 506. 㬪ǹ✙ǯ㘺♎ᇖԋՌ㙊ऑ⎏ल㏟㟨ᙠ卿ྏ㵶㦜׆㣂⎏▂ᙠ卿⎉ⰰ
Yongle period ewers of this form may be found with a Ḽⰴ卿㵶ᵐ῟㙁ᛞ༏ᚿ㞐߅㦜㥯㿳ᙚ卿ᛞ⩧☸ᝳ᜔ᘶ卿ᛓսᬔ଍
variety of designs. An almost identical ewer is illustrated in ⎏῟ㅳᘤ៧㛢Ӷ⏌⏟ऱ卿ᅸ՞ݣࡠǯ⩧≢⫭ᙹ㬷卿᳋भ㿡ٕ໶க
Sekai Toji Zenshu, Shogakukan, vol. 14, 1976, p. 163, no. 143. ࣿ㵶ၾக卿࠼ӳ῟ㅳᵐᄟ⎏ᓽ㵶卿ռக㐏⎏⡿⮏ᄟࣿᷪ⎊ᄟ㛢ᝤ
Although the painting format of the both these ewers is still ࡠ߿ងǯஙᛓ᪖ᐽ㐈⎏㘺։᭦ᦼన೭ལज㇦ӬᙚĜĜ᫉೭⎉ⰰᚺ
arranged in registers, much in keeping with its Hongwu period
predecessors, it is interesting to note the lack of lotus lappets ⰴ卿ൈऱ༾⻤⒢Ӭ⯺Ḽ㶸卿㇏Ꮴ᲼⎊ݏᷪ⎏≢஠卿⻤⯝⎊⎏ཌ
above the foot; this absence leaves a wider space on the main ᬘᝤἃ㸓ᚺǮ㬦࡚ǯ
body to render the scrolling floral design. Compare the stylised
design executed on a Hongwu ewer decorated with scrolling ᚺߝ≢଍⎏⡠㱈ࣿ㙁௛卿ᇁᇁ჌ᝳԋՌ㇛ఓᎵ֗ᙱ⼵㰍ᡟǯൈទ
chrysanthemum on the main body and lotus sprays on the ։᭦ᦼన೭卿ݯ㙁௛ᴹ⯇ԋՌ㞖ྏ⏇㜮଍卿ൈഌ㛢ᝯࢷ⁒㱦ݱ
spout excavated from the Zhushan site, exhibited at the Chang ⻦Ӭ։໸ჺݨӽ⡕⎏ᑌࢼᄥ㤒㞖㠤೭卻ݱ⻦⤔⽚ 卼卿
Foundation, Imperial Hongwu and Yongle Porcelain Excavated 㫍᮱ᝳ೭᱁卿ֿᇖᆨₕ⯝⊇㘶㛢ज⏭㇦⯝᭦ᦼన೭⎏ᐂ㇑㨸ؠǯ
at Jingdezhen, 1996, and illustrated in the Catalogue, p. 75, no.
4. By the Yongle period, the painting style had transformed ⯍ᙻ⡠㱈ᙹ㬷卿⦞៨Ɽࢭ⡠ἃݱ௛֗ᙱ⼵⡶⥫৅Ɽ⡠卿ֿங᫉։
to become more naturalistic with a greater innovative use of ᭦ᦼ೭ӳ卿ज⏭㇦ԋஇ݉⡵⎏᳎ݣ卿ൈ⁍ԕࣿᢝຽⱤ㛢ᛓԋக჎
the brush and shading of the cobalt as can be seen on a ewer ㇦⎏Ɽࢭ৅♎卿஄㑷ӳ⎏୪⡠ᝤ᚝㇦ᙻਦॶ㬪㠩଍ǯ
from the Yongle stratum, decorated with chrysanthemum
flowers, illustrated op. cit., p. 177, no. 57. The excavated Yongle जࣻ⩠Ӭ։⡠㱈Ǯ㙁௛Ǯཨ༿Ӭ⯎⎏⏟ऱ׾卿ⶬ㢙ᙻែ՗ ჺ
ewer provides a close comparison to the present lot with a ߅‸⎏Ƕӽ⊤㪃┵ݥ㫀Ƿ卿✄ ݺ卿⤔⽚ ǯ
wider decorative main band around the body.
ទ᭦ᦼ㬪Ɽన೭ᴹ⯇ᚚទⶃ㞓⧻ワ㱦卿Ⴁᘢ㱦Ԗⶃ㞓ㅓᛑݎ⊂ᛓ
Other comparable ewers designed with lotus lappets around
the base are published, the first illustrated by J. Ayers and Հࢦӽ⡕Ӵࢮ⶟㨸㇛஠ࢥᝬ㰆㑂⎏㪃≢⻦།ԠӬǯⶃ᭄ῂዴᚚទ
R. Krahl, Chinese Ceramics in the Topkapi Saray Museum, ࣿԋஇ⻱ワ卿ཝ㝙ᇵⳍ㙣⻱ワ卿ݯᝪᘘ⻦⎏Ӭ։࢈໬໸⚨㿳㞏㽟
Istanbul, 1986, vol. II, no. 619; another from the Ardebil Shrine 㻌ᙚ⎾卿ᝤᛓᘘ⻦⊤ԋԠल৅卿㊃⎾ᇌᙻ ჺ ᝲ ᚚ⡥⡙צ
now in the Iran Bastan Museum, Tehran, illustrated by ೥ᇑᐽ㐈卿ᐽ৅ ⽚卿⤍㙁Ի⧻݉ Ԡצ⥚ǯ
T. Misugi, Chinese Porcelain Collections in the Near East,
Hong Kong, vol. III, no. A80.

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