Page 97 - Ming Porcelain Sothebys march 2018
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Although most Xuande cloisonné vessels appear to be unmarked, enough
              marked pieces exist to identify this period’s style and quality. Both in its   ܁ᅃỻക೗๻ኜdᒱ˸ೌಛ٫֢εdШኯπ
              shapes and designs Xuande cloisonné wares also ! t in well with other works   ˰੭ಛЪԷd੽ʕ̙ٝϤࣛಂʘࠬࣸʿۜ
              of art of the period, particularly contemporary porcelain and lacquer ware.   ሯfೌሞኜۨʿ७ུd܁ᅃỻക೗๻ኜၾՉ
              Although Xuande cloisonné wares are predominantly decorated with lotus   ˼܁ᅃନኜeဒኜഃʈᖵࠬࣸΝ̈ɓ࿏f७
                                                                                     ུ˙ࠦd˴ࠅ˸ᇳ७މ˴d͵Ԉν͉ۜᚂ،
              motifs, composite % ower scrolls like on this box appear similarly on a stem
                                                                                     ڀ̓७٫d̙ਞϽɓ৷ԑްԷd̏ԯ݂ࢗ௹
              cup attributed to the Xuande period in the Palace Museum, Beijing, illustrated
                                                                                     ي৫ϗᔛdྡԈ݂⭓௹ي৫ᔛ˖يޜۜΌ
              in The Complete Collection of Treasures, op.cit., 2002, pl. 30, and on a
                                                                                     ණ‘dۃࠑ̈ஈd2002ϋdྡو30d݂ࢗ
              gu-shaped vase attributed to the Xuande reign, also in the Palace Museum,   ௹ي৫̤ϗᔛɓ܁ᅃ̈ౘయԷdᚂ໢ʿ՜໢
              which in addition shows a foliate scroll and linear classic scroll related to those   ७dၾ͉ۜ޴ڐdԈʕ਷ߕஔΌණjʈᖵ
              on our piece, see Zhongguo meishu quanji. Gongyi meishu bian [Complete   ߕஔᇐ‘d՜10dږვޚᆨ೗๻ኜd̏ԯd
              series on Chinese art. Arts and crafts section], vol. 10: Jin yin boli falang qi   1987ϋdྡو299f
              [Gold, silver, glass and enamel wares], Beijing, 1987, pl. 299.
                                                                                     ૿Υڀ̓ʿఊ၇ڀ̓७ུdѩ੬Ԉ׵͑ᆀʿ
                                                                                     ܁ᅃڡڀନdུ׵ỻക೗๻ኜdաҦஔה
              Flower scrolls, whether made up of composite blooms or featuring one single
                                                                                     ࠢdۆცЪᔊʷஈଣf̙ਞϽɓ܁ᅃڡڀ䋘
              plant, were favorite motifs of Yongle and Xuande blue-and-white porcelains,
                                                                                     Էdུᚂ،ڀ̓d༱׵׼˾܁ᅃ֜㜺വശ
              whereby for the cloisonné technique blooms and leaves had to be simpli! ed
                                                                                     त࢝ྡ፽‘d݂ࢗ௹ي৫d̨̏d1998ϋd
              to what are basically silhouettes; compare a contemporary porcelain bowl   ᇜ໮135f͉ۜႊଷdʕːུᇳ᎘dˢ༰ɓ܁
              with composite % ower scroll in Mingdai Xuande guanyao jinghua tezhan tulu/  ᅃڡڀ䋘Էd䋘ː७ུ޴ᗳd̈ஈΝɪdᇜ
              Catalogue of the Special Exhibition of Selected Hsüan-te Imperial Porcelains   ໮63d̤̙ˢ༰ɓᆵԷdᆵːུᇳ᎘dఖུ
              of the Ming Dynasty, National Palace Museum, Taipei, 1998, cat. no. 135. The   ᚂᇳʬϢd̈ஈΝɪdᇜ໮186f
              central % ower-head with its spiralling petals probably represents a lotus % ower
              seen head-on, as is suggested by its foliate scrollwork, which is not found in
              combination with other blooms. It appears similarly, for example, in the center
              of a Xuande porcelain bowl, ibid., cat. no. 63, or the center of a dish, where it
              is surrounded by a lotus scroll with three di" erent styles of blooms in pro! le,
              ibid., cat. no. 186.
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