Page 106 - Ming Porcelain Sothebys march 2018

104 SOTHEBY’S NEW YORK 20 MARCH 2018 MING: LUMINOUS DAWN OF EMPIRE

Line drawing of the present lot
illustrated in Geng Baochang, Ming
Qing ciqi jianding [Appraisal of Ming
and Qing porcelain], Hong Kong,
1993, p. 89, ! g. 151 (3).
͉ۜᇞ౜ͪྡ׵অᘒ׹d׼૶ନ
ኜᛡ֛‘d࠰ಥd1993ϋdࠫ89d
ྡ151 (3)

A neck fragment of a companion vase was, however, excavated from the
Ming imperial kiln sites at Jingdezhen and is illustrated in Gugong Bowuyuan Ϥᗳଧʘಞኜd̈ɺ׵౻ᅃᕄ׼˾੿㜺፲
yu Jingdezhen taoci kaogu xin chengguo. Ming Qing yuyao ciqi/The New ѧdהπසމɹ௅ʿ᎕௅d፽׼૶੿㜺ନ
Achievements on Ceramic Archaeology of the Palace Museum and Jingdezhen. ኜj݂ࢗ௹ي৫ၾ౻ᅃᕄௗନϽ̚อϓ؈‘d
The Porcelain of Imperial Kiln in Ming and Qing Dynasties, Beijing, 2016, no. ̏ԯd2016ϋdᇜ໮091ʿࠫ387dྡ4
€ྡɓd˖ʕাd˜ϓʷࣛಂڡڀଧᗳኜ
091 and p. 387, ! g. 4 (! g. 1), where it is stated, p. 386, that blue-and-white
يԨʔεԈd˲Ϥ၇ᅵόٙଧίෂ˰ۜձ̈
bottles in general are very rare in the Chenghua reign and that no heirloom or
ɺۜʕѩ͊ԈϞ޴Ν٫™dࠫ386fৰϤ̮d
excavated bottle of this form is recorded. The imperial kiln sites also brought
༈፲ѧ̤̈ɺɓೌಛڡڀଋଧd̈ஈΝɪd
to light, however, fragments of one other unmarked blue-and-white " ask, ྡو092f
shaped like a holy water bottle, ibid., pl. 092.
ɪࠑᇳᖙɹଧಞኜd̈ɺ׵౻ᅃᕄमʆᎲम
The neck fragment of the present shape was discovered to the north of ტ̏ਉήᄴf༈ήᄴ̍ўೌಛʿ੭ಛϓʷନ
Longzhu Pavillion of Zhushan in Jingdezhen in a stratum containing both ኜdЗ׵٤ͣಂήᄴʘɪe̤ɓϓʷήᄴʘ
marked and unmarked Chenghua items, located immediately above a layer ɨd݂Ϥ̙ᓙϤήᄴᏐ᙮ϓʷϘಂfϓʷ੿
ନd̙ʱϘૉՇಂ€͵Ϟኪ٫ႩމՇಂʘග
pertaining to the ‘Interregnum’ period (1436-1464), and below another
֠Ϟୋɧಂdਬ່֛ʔνϤՇಂ׼ᆽdϘ
Chenghua stratum, thus obviously belonging to the early Chenghua period.
ಂІߒ1468ϋ֐dϤࣛಂࢗҒႡନ֠ض͜܁
Porcelain production at the imperial kilns in the Chenghua reign is generally
ᅃࠬࣸd˸೥ࠬІ͟ʘڡڀନԈഹdૉಂۆ
divided into an early and a late phase (with some scholars proclaiming a less ˸৸੹ʿ͍ࠬࣸ୕ʘڡڀࢗ䋘ၲΤf
distinctly de! ned third phase between the two), whereby the early phase is
believed to have begun a few years into the reign, around 1468. This early
production for the court, which in many ways still follows styles from the
Xuande period (1426-1435), is particularly noted for its freely decorated blue-
and-white wares, while the later period is most famous for its polychrome
doucai style and its more formal blue-and-white ‘palace’ bowls.