Page 108 - Ming Porcelain Sothebys march 2018
P. 108

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






































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             While the painted decoration on the present bottle still echoes styles known
             from the Xuande reign, its shape, with its unexpected, playful, sculptural   ͉ଧ७ུd֠੭܁ᅃ፲ࠬdኜۨۍ᙮อ௴d
             elements of a lotus-bud mouth and lotus-leaf handles with pierced openings,   ᇳᖙɹdஃ໢Ѐdሳբॄ್d௴จอ̷dЧ
             is totally innovative and does not seem to be following any precedents.   ˷Ԩೌ΋Էf͉ଧਿ͉ኜҖЧ๕Іڡზࣛ˾
             Although the basic shape may have been inspired by bronze bottles, hu, from   ૉಂהԈڡზడdϾڀҖɹʿ໢ҖЀdۆ
                                                                                    ၾՉࡡۨೌᗫf̙ˢ༰ɓԷdГဏ⺗ვڡ
             the late Bronze Age, the " oral mouth and handles have nothing to do with
                                                                                    ზడd̈Іܠ๕ੀϗᔛd቗࠯Ѐdႉ᎘ɹd
             such models; compare, for example, a silver-inlaid bronze hu of the Western
                                                                                    ɹ௅⺗ვdΣɨַФЪۧ໢ًdྡ༱׵ҽኪ
             Han period (206 BC – AD 9) from the Sze Yuan Tang collection, with garlic-
                                                                                    ාdʕ਷ڡზኜയሧ‘dอ̋սd2000
             shaped mouth with pendent leaf motifs and applied animal masks to hold ring   ϋdᇜ໮89f
             handles, illustrated in Li Xueqin, The Glorious Traditions of Chinese Bronzes,
             Singapore, 2000, cat. no. 89.                                          ͉ଧ७ུ๕І܁ᅃڡڀኜdһ̋Ιᗇ͉ۜ᙮
                                                                                    ϓʷϘಂʘႭfՉᚂᇳࠬࣸd̙Ԉ׵܁ᅃନ
             The painted designs of the present bottle are drawn from Xuande blue-and-  ኜdԷԈ౻ᅃᕄ̈ɺ׼܁ᅃ֜㜺ନኜ‘d
             white, which reinforces the assumption that the piece was made in the early   ᒿᐤߕஔ᎜d̨̏d1998ϋdᇜ໮64iאԈ
                                                                                    অᘒ׹ᇜd݂ࢗ௹ي৫ᔛ׼ڋڡڀନ‘d
             phase of Chenghua production. The lotus scroll that combines stylized foliate
                                                                                    ̏ԯd2002ϋd՜  1dྡو97d՜2dྡو
             scrollwork with naturalistic lotus leaves and water weeds, can be found
                                                                                    108fٲ௅՜७dၾ܁ᅃ䋘Ԓ७ུ޴ЧdԈ
             similarly on Xuande porcelains, see, for example, Jingdezhen chutu Ming
                                                                                    ׼˾܁ᅃ֜㜺വശत࢝ྡ፽‘d݂ࢗ௹ي
             Xuande guanyao ciqi/Xuande Imperial Porcelain excavated at Jingdezhen,   ৫d̨̏d1998ϋdᇜ໮50א117iԑ௅ૠڀ
             Chang Foundation, Taipei, 1998, cat. no. 64; or Geng Baochang, ed., Gugong   ७d͵Ԉ׵܁ᅃ䋘Էdۃࠑ̈ஈdᇜ໮44ʿ
             Bowuyuan cang Ming chu qinghua ci [Early Ming blue-and-white porcelain in   49i᎕௅ᇳڀ७dאစʷІ܁ᅃұ،ᇳ७d
             the Palace Museum], Beijing, 2002, vol. 1, pl. 97, vol. 2, pl. 108. The formal   νԈ׵܁ᅃᔝݟ˖̈ౘႊᜦdᔛ̏ԯ݂ࢗ௹
             curled scrollwork border around the shoulder reminds us of scroll borders on   ي৫dঅᘒ׹d2002ϋdۃࠑ̈ஈd՜2d
                                                                                    ྡو109f
             Xuande bowls, see Mingdai Xuande guanyao jinghua tezhan tulu/Catalogue
             of the Special Exhibition of Selected Hsüan-te Imperial Porcelains of the Ming
             Dynasty, National Palace Museum, Taipei, 1998, cat. nos 50 or 117; individual
             prunus blossoms around the foot can also be seen on Xuande bowls, ibid.,
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