Page 18 - Bonhams UK Marsh Collection Art for the Literati November 2, 2022

Lot 7, a rare blue and white Lot 27, a wucai ‘lotus Woodblock print from A blue and white dish, Shunzhi, Gao Cen (1621-1691), Jinshan
‘descending geese’ ovoid jar pond’ rouleau vase, 1607, Yibaitang edition. Tang Ying society, Jingdezhen temple (detail), Nanjing Museum
and cover, Chongzhen circa 1640

Lot 7, a rare blue and white ‘descending geese’ ovoid jar and cover, The painting on blue and white porcelain of the Chongzhen period is
Chongzhen, is similar in design to Lot 27, a wucai ‘lotus’ pond elegant and free, like that of ink on paper. Varied brushstrokes that
rouleau vase, circa 1640. The scenes show four stages of flying and resemble hemp or cow’s hair reflect the painter’s agility and skill. In
lodging, implying different stages of life. One can compare it to a order to create the blurred feeling of watery ink in literati paintings,
woodblock print from the same period and see the gestures of the the porcelain painters also created a unique technique of using blue
birds, the brushwork and setting are all very similar. cobalt with lots of water, and quickly dyeing and joining colours
while the clay was still dry. The figure paintings are mostly done with
Under the influence of printmaking, literati painting techniques thin and smooth lines, and then applied with different tone of blue
mixed with new expressions, changing the technical expression to create clothing patterns, making the overall pictures richer and
of porcelain painting. Some porcelain paintings were even made elegant.
according to original literati paintings transmitted through woodblock
prints. A typical example is a blue and white plate, Shunzhi, in the Ding Yunpeng’s ‘Painting of Shakyamuni’ is very similar to the
collection of the Tang Yingxue Society, which has a strong feeling woodblock printed image of him in the book ‘Famous Paintings
of literati painting. What is presented here is not only the description of Past Dynasties’. Literati painting and printmaking at the time
of the craftsman’s techniques, but also the unvoiced sounds of the blended. When looking at the Arhat in Lot 17, a rare blue and white
landscape and the scholar’s heart-mind. Porcelain painters use ‘Saagata’ sleeve vase, Chongzhen, we can also see that the outlines
simple and freehand techniques to express mountains and rocks, of Saagata are similar to those of Ding Yunpeng’s detailed lines.
and outline houses, boats and trees with quaint and simple lines. Thus, it can be seen that literati paintings, prints, and porcelain
Combining the real and the imagined, the brushwork is relaxed, paintings influenced each other in that period.
showing a distant view of Pinghu, seclusion and tranquillity: a
typical literati painting but in porcelain. It is the same as the painting
of ‘Jinshan Temple’ by Gao Cen of the late Ming and early Qing
dynasties. Thus, it can be seen that they copied and influenced each
other.

Ding Yunpeng, ‘Shakyamuni’ (detail), ‘Famous Paintings of Past Dynasties’, Lot 17, a rare blue and white
Tianjin Museum copied by Gu Bing, Published in the ‘Saagata’ sleeve vase, Chongzhen
Wanli period of the Ming Dynasty,
Library of Austria
18 | BONHAMS