Page 26 - Important Chiense Ceramics and Works of Art, Christie's.pdf

2907 Continued

The current bowl takes its name, lianzi wan (lotus bowl) from ໿ᇪ㬪Ɽ⸥ຽ⎾卿፽ᴹ⯇᭦ᦼ㫕ᇵ⎾ǯझ࢈ᘢ༈ࢷ⁒㩴ᘘ⻦
its resemblance to the form of a lotus pod. The form originated Ӭ⡑ߛ⎏໿ᇪ᪪⸥ຽ⎾卿ߎἃ⎊㞏ࣿ㬪Ɽ⡠㱈Հ♎卿㇦ ჺ
in the Yongle period, and retained its popularity through the झ࢈߅‸Ƕᚺջ໿ᇪ໶⚨⴬ⵖ⁞ཿஎ㢙Ƿ卿㮰 卿எ‸
reign of Xuande, as demonstrated by a group of Xuande-
marked lianzi bowls in the National Palace Museum, Taipei, ⽚ǯ
published in Catalogue of the Special Exhibition of Selected ം೅⥾㫐ྉ⸥≓⡠⸥ຽ⎾⎏ݯձ׾ຽࡺᑐ厍࢈՗ᘢ༈ࢷ⁒㩴⻦
Hsüan-te Imperial Porcelains of the Ming Dynasty, Taipei, 1998,
pp. 360-377, nos. 153-161. ݦ։卿ݯӬߒ㢙ᙻǶᘢ༈ࢷ⁒㩴⻦ᙔ⁒Ⅷ৅ݥ㫀厁㬪Ɽ㞏ㅏ⡚
卻ӳ卼Ƿ卿ӳᱡ卿 ჺ卿எ‸ 卿औӬߒ㢙ᙻǶᘢ༈ࢷ
The double-petal and wave band decoration on the exterior of ⁒㩴⻦ᚺߝ㬪Ɽ≢Ƿ卿Ӵݺ卿࢈՗卿 ჺ卿எ‸ 厎%S
this bowl is rarely seen. Compare two bowls held in the Palace
Museum, Beijing, published respectively in The Complete 4UFQIFO 8PPUUPO #VTIFMMᒝ㐩ഌⲖࢷ⁒㱦⻦৅卿㇦ ჺٳᘹ߅
Collection of Treasures of the Palace Museum. Blue and White ‸+ )BSSJTPO )BMM卿Ƕ.JOH $FSBNJDTǷ卿㮰 卿எ‸ 厍 厎
Porcelain with Underglazed Red (I), Shanghai, 2000, pl. 154 ែ՗߅ݏ⧻ワ㱦卿㇦ᙻǶԋ୼㪃┵厍߅ݏ⧻ワ㱦⻦৅எ㢙Ƿ卿
and the Gugong Bowuyuan cang Ming chu qinghua ci, vol. ែ՗卿 ჺ卿எ‸ 卿ἃ(FPSHF &VNPSGPQPVMPT ࣿ &OJE BOE
2, Beijing, 2002, pl. 150; one held in the British Museum #SPEJF -PEHF ⯠⻦厎սࣿ㪀ℱ㪖⯠⻦卿ᙻ ჺ ᝲ ᚚ㲞ᳰצ
bequested by Dr Stephen Wootton Bushell illustrated by
J. Harrison-Hall, Ming Ceramics, London, 2000, p. 134, fig. ೥ᇑᐽ㐈卿ᐽ৅ ⽚ǯ
4:27; one in the Idemitsu Museum of Art, Tokyo, illustrated in
Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl.
633, formerly in the collections of George Eumorfopoulos and
that of Enid and Brodie Lodge; and finally one from the YC
Chen Collection sold at Christie’s Hong Kong, 29 May 2013,
lot 1931.

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