Page 69 - Sothebys Speelman Gems of Chinese Art

Jiajing reign-marked cloisonné enamel is
1989, pls 70 and 71; a dish collected by the
extremely rare. As carefully researched and Beijing Cultural Relics Company, and a shou
discussed in Beatrice Quette, ed., Cloisonné: character bowl and covered box in the collection
Chinese Enamels from the Yuan, Ming and Qing of the Musée des Arts Decoratifs, Paris,
Dynasties, New York, 2011, p. 156, only seven illustrated in Quette, ibid., pp. 243-244, cat. nos
pieces have been recorded, all currently in 38 and 39.
museum collections.
Jiajing works of art are brimming with Daoist
The closest example is a covered jar decorated imagery. Most common, however, are auspicious
with cranes and clouds in the Phoenix Art motifs intended to protect the Emperor against
Museum, included in the exhibition Chinese the vicissitudes of fortune. The fish-and-
Cloisonné. The Clague Collection, Phoenix Art waterplant motif has similarly been interpreted
Museum, Phoenix, 1980, cat. no. 7. It shares the as a combination of auspicious symbols in the
same form as the current jar, and is similarly exhibition catalogue Power and Glory: Court Arts
enamelled in rich and brilliant enamels, the of China’s Ming Dynasty, Asian Art Museum, San
spontaneity of the cranes matching that of the Francisco, 2008, p. 210, where in connection
fish on the current jar, with closely related freely with an ink painting of this subject by Miu Fu
decorated design elements, including the distinct (active 1426-1435) it is explained that the fish
manner in which the red ruyi border spills out of represent phallic symbols, that the Chinese
the bold gilt cloisons. Both jars are incised with word for ‘fish’ is a homophone for ‘abundance’
six-character marks, the Phoenix Art Museum jar or ‘profit’, the arrowroots imply compassion
with the less commonly found nianzao mark. and benevolence, and the water lily symbolises
peace and safety. Jiajing porcelain jars decorated
A ‘dragon’ dish in the Palace Museum, Beijing,
in wucai enamels with the same design as the
illustrated in The Complete Collection of
current jar are recorded in varying sizes in
Treasures of the Palace Museum. Metal-bodied
museum and private collections, including an
Enamel Ware, Hong Kong, 2002, pl. 46, shares
example from the collection of the Walters Art
the same incised nianzhi mark as on the current
Museum, sold in our New York rooms, 11th/12th
jar. Others include a ‘phoenix’ bowl and ‘dragon’
September 2012, lot 262. This, however, is the
dish in the Pierre Uldry Collection, illustrated
only example of the period in metalwork and is an
in Helmut Brinker and Albert Lutz, Chinese
extremely rare legacy of the period.
Cloisonné: The Pierre Uldry Collection, London,
GEMS OF CHINESE ART — THE SPEELMAN COLLECTION I 67