Page 16 - Christie's Four Masterpieces of Jun Ware, May 29, 2019 Hong Kong

fig. 5 A Jun-type bulb bowl and stand, Yongzheng period.
Collection of the National Palace Museum, Taipei
எՆ 㫇᫈֎㟕㞏Ɽ⎺㙄Ꮴ இ⛁ᘢ༈ࢷ⁒㩴⻦৅

album leaf was intended to represent the garden of the Palace of Established ༈Ⅷ⻦⎏㟕⚨Ɽ⎺卿ݯ༰؝ᛓ⊺ԋԠ⁒ǯ㊃׾㟕⚨
Happiness, and that the Jun ware flowerpot in the Palace Museum is in fact
Ɽ⎺卿⏭׹⯝ទ໋ᓠ߅⎏㟕⚨ᰚྏऱӬ㯸ߣ卿ݯം
the one shown in the painting. This Jun ware flower pot appears to belong
೅Քᙼצ൘⎏⚨㍩⅌⇷⡻㞏卿ݤ೅ᓔԱḺ⻤㞏ǯ
to the same group of Jun wares as the bulb bowls in the current sale – well-
potted with a fine mottled purplish-glaze on the exterior and an opalescent
blue glaze on the interior. ᗌ♑卿ल⊺ǶࢦՀ⧻՞எǷᛓഎຽ⫿◥卻࣊㫇᫈Ⴝ卼
ᙻᄮᾭჺ㧿উ՞⥾ㅳ⩧Ꮀ卿ݯԋӬஎज㇦Ӭ׾Ɽ⎺
One of the famous paintings of Twelve Beauties at Leisure, believed to have
been painted for the Yongzheng emperor, when he was Prince Yinzhen, 㙄⎺Ꮴ卿᫉⁒Ꮅᛓ᚝ឆ㟕≢卿Ꮅᛓ᳖ջࣻᾅ᚝ឆה
during the reign of his father the Kangxi emperor, may depict an early ৅֎῟⎏㜩ഩⱤ଍ǯ⊺ԋᝳӬलᏢᏳ᳖㿃⬴ز⎏հ
Jun ware flowerpot and stand, or may depict a Qing dynasty set made in
ഺ㧾ஶᦇӳཌ㥚ᢷ൚卿㕇ᇌ᎝Ӭზᝧᯧǯհഺठڬ
imitation of the earlier vessels. The painting shows an elegantly attired lady
seated on a day bed in front of a calligraphic scroll admiring her image in ⚚झӳ卿㑂὞ᛓӬ։㟕⚨㯸⎏ᣥऑⱤ⎺㙄Ꮴ卿⎺ԋ
an antique bronze mirror. On the windowsill to her right is a lobed Jun- ᣿ᝳ᭢մ卿எ㇦ & 4 3BXTLJ ࣿ + 3BXTPO भ⤔⎏Ƕ⏇
type flowerpot and stand (illustrated in China - The Three Emperors 1662-1795,
ӽⵖ⛌Ƿཿ㈇எ㢙㮰 ⤔⽚ ठӴஎ卻ٳᘹ厍
E.S. Rawski and J. Rawson (eds.), Royal Academy of Arts, London, 2005,
p. 259, no. 173, lower right). The flowerpot is planted with narcissi. This 卼ǯ㊃ഩ㟕㞏≢଍Ꮅ׹⯇᠋ׅ᳖Ⴝᄎ⻦⎏ऒ⅊卿
Jun ware flowerpot and stand may be an antique - collected by one of the Ԯज⬒ᛓջջ⏟۔⎏༈ᅡ⯠⻦ǯֿᛓ卿⊺ԋ㟕≢Ԯ
Qing emperors, or passed down within the imperial collections. However,
ᝳज⬒ᛓ᳖ջ᧘֎᚝ឆ㟕≢Ԡהǯ᳖Ⴝཌ㟕≢Ⅷⲋ
it may be that the vessels in the painting are Qing dynasty pieces inspired
by earlier Jun wares. Since Jun wares were so highly esteemed by the Qing ᑕ∣卿ԆӴռᇙ⚨֎῟㟕㞏ǯ㫇ԳՀងமᝳㅳה֎
emperors, the imperial kilns were instructed to imitate their glazes. Jun-type 㟕㞏≢଍卿⋁ԋӶԣⱤ⎺⯝Ӳ㑷ᰚ卿ἃݯჇᯧ⎏⠈㪃
wares were made in the reigns of the Yongzheng and Qianlong emperors,
ࣥ௛ᓽ؊Ի⊂࡚⛁㵲⎏ࣻᾅ⁒ǯ⊐ᙻ㫇᫈⎑ႽӬᇵ
including flowerpots and bulb bowls, providing interesting comparisons
㇝ᇙ⚨֎῟㟕㞏卿৿Ⲗ卻 ⯍ ჺ卿ᛞ֌ᇙ⚨
with the stoneware originals that inspired them. So determined was the
Yongzheng Emperor to have the imperial kilns make Jun-type glazes that in ᅐࢵ↚໶卼ᝪᙻ ჺඋ㉂ݯ㪃⻱།ൃऀॕ㾼卻
1729 that Tang Ying ( ৿Ⲗ 1682-1756, then Vice Director of the Imperial
⯍ ჺ卼卿߿㑊ᯇࢶ㟕႔⩠༩㟕㞏ǯझ࢈ᘢ༈Ⅷ
kilns) felt it necessary to send his potter friend Wu Lin ( ॕ㾼 1691-1772)
⻦Ӭ׾㫇᫈֎㟕㞏Ɽ⎺㙄Ꮴ卿எ㇦Ƕ㫇᫈厍᳖ӽ໵ᙔ
to Junzhou in Henan to study Jun ware glazes. A Jun-type Yongzheng
flowerpot and stand in the collection of the National Palace Museum, Taipei ⁒ഌཿǷ㮰 ⤔⽚** ࣿ 卻झ࢈厍 卼卻ॲ̪卼卿
(illustrated in Harmony and Integrity – The Yongzheng Emperor and His Times,
㊃⻦৅⯝⊺ԋ㞏ⰰℒݰӬᡟ⎏Ɽ଍㯄ݰ⊿ᝢऱ႙Ԡ
Taipei, 2009, pp. 228-9, no. II-54 and 55)(fig. 5) more strongly resemble the
൘卿ݯ⏟ַᄟᝤࡠᙻ᚝ឆ㟕≢ǯ
rather unusual colouration of the flowerpot and stand in the painting than
do the earlier Jun wares.
ទ໋ᓠ߅⎏୨׾ӳԧ㟕⚨ᰚ卿ᇈज⬒ྏᙻᚺߝ༈ᅡ
It seems quite possible that the high-quality bulb bowls in the current sale
㈳ㅳ⎏ऱӬᏼ㟕≢ǯὍ⋕卿㘺㯸ה৅᳅ईࢦݨӽ⡕
belong to a group of Jun wares made for the early Ming court. They were
th
certainly greatly admired by the 18 century emperors of the Qing dynasty, ᳖ջाℳ㬪␫卿໦ٛᚘᛓ༈ᅡᅤ❪কஊ៣ԋ⎏㪀㉑
who displayed them in palace buildings and gardens, and included them in ≢卿ᝤ჎߅→ᙻ༈ᅡ⥾⊺Ԡԋǯទᏼ㟕⚨Ӳ㑷ᰚ৅⏟
court paintings. The current bulb bowls represent the highest quality of the
צ൘卿ݯം೅ᙼ⚨㍩⅌⇷⡻㞏卿ݤᙼԱḺ⻤㞏卿ᰵἃ
‘numbered’ Jun vessels, well-made and with exquisitely mottled purplish
glaze on the exterior and opalescent blue glazed interiors. Never before ⤔⽚㟕≢ԋ⎏஝⯈Ԡהǯទ໋ᐽ㐈ౚӳ卿᫉㯸ल≢⛋
have four such vessels come onto the market at the same time – providing a ᝳ୨׾ऱᛞՙ⏟卿᫉ԛ߿Ꮢត㇦ԠԿ卿ཌᙻⒺ♾᫉㯸
unique opportunity to study of this fascinating group.
㟕≢⎏प⊤ऱൃ卿ᰵἃࢨ㖊㫙㙃⎏ᨉ㙘ǯ

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