Page 30 - Bonhams UK Marsh Collection Art for the Literati November 2, 2022

Lot 2 Lot 3 Lot 4 Lot 5

Figural paintings are most iconic during this period. and purnus’ brushpot, Kangxi, and Lot 30 a rare blue
The late Qing dynasty scholar Jiyuan Sou in his and white, copper red and celadon glazed brushpot,
treaties on ceramics noted: ‘painted figures during Kangxi, well illustrate the transition of the decorative
the Ming dynasty are the most witty and lifelike on style from vernacular sources during the six decades
brushpots and flower vases’, and ‘Ming dynasty of the Kangxi period.
blue and white brushpots are usually carved with a
decorative band before being applied with a celadon The monochrome brushpots are another favourite
glaze. Artisans don’t inscribe any marks. This is the on a scholar’s desk. Lot 22 a pale-green glazed
same as the gu-vases.’ The woodblock prints from anhua-decorated brushpot, circa 1640–1650, is finely
Huizhou were favoured by various strata of society carved with subtle floral designs underneath a layer
Lot 40 and they become great source of inspiration for of translucent glaze. Lot 5, a rare, turquoise-glazed
painted themes on ceramics. hexagonal biscuit brushpot, Kangxi and Lot 21 a
powder-blue glazed brushpot, Kangxi, utilise both low
This innovation in scholar’s objects is an important and high fired monochromes, which shows the variety
aspect of ceramics during the late Ming and early of products available at Jingdezhen. The design of
Qing dynasties. Brushpots are the very highlight of these brushpots are highly refined and subtle, catering
the Marsh collection, and below are a few exquisite for patrons with minimalist and simplistic tastes.
examples:
From the Yongzheng period, ceramic brushpots
Lot 20 a very rare wucai brushpot, Chongzhen/ became essential in the scholar’s study. Lot 28 a
Shunzhi period, and Lot 10 a very rare blue and white famille-rose ‘Hou Yi’ brushpot, late Kangxi/ early
and copper-red brushpot, early Kangxi period, are Yongzheng, incorporates the wucai palette during
both classic examples of figural painting during the the late Kangxi period and the newly imported ‘pink’
thirty years between the Shunzhi and early Kangxi enamel during the early Yongzheng period. It gives
period. Lot 13, an exceptionally rare blue and white an insight into how the imported pigment became an
Lot 37 ‘384 Shou’ brushpot, Kangxi period, is an example of integral part of domestic production. Lot 29, a fine
literati taste being influenced by Imperial wares after
white biscuit porcelain ‘crane and pine’ brushpot,
the restoration of the official kiln in the 19th year of the 19th century, transformed literati painting onto a new
Kangxi period. The successful manufacturing of the medium, using the carving knife to imitate a painting
‘ten-thousand Shou’ Imperial vase by the official kiln brush to delineate the details in low relief. This is a
must have inspired similar decoration in this scholar’s renovation of ceramics during the late Qing dynasty.
object, the latter being similarly inscribed with the seal
scripts with rigour and clarity. It is also with the Kangxi The qilin, mythical beast, dragon and clouds are
reign mark, which alludes to the noble status of its some of the most common motifs during the Shunzhi
owner. period. Lot 19, a rare and large blue and white
‘qilin’ dish, Shunzhi, and Lot 40 a rare ‘blue and
Lot 4, a rare blue and white ‘mythical beasts’ white’ dragon amidst clouds’ beaker vase, are both
brushpot, Kangxi, Lot 34 a rare celadon-ground blue outstanding examples of such decoration during the
and white copper-red glazed ‘kuixing’ brushpot, Shunzhi period.
Kangxi, Lot 37, a rare and large famille verte ‘magpies
Lot 34

Lot 33 Lot 32 Lot 30 Lot 29