Page 26 - Jie Rui Tang Kangxi porcelain mar 2018

305 A FAMILLE-VERTE ⌲Ꮴ⛆ ρᒖᆞ䯞⎃ᅲృ⨣
‘LANDSCAPE’ VASE

Qing Dynasty, Kangxi Period ҳ⎽
⧍侚豤㺢嫲1996䎃5剢14傈管贫67
of slender ovoid form surmounted by a trumpet
The Chinese Porcelain Company Ltd 
neck with $ ared rim, painted in vibrant hues
秣秉1997䎃
with a lakeside landscape, the rocky peninsulas
zigzagging into the distance punctuated with
waterfront studios and reclusive scholars, birds ᆂ㻪
$ ying in formation above, a lone ! sherman pulling շThe Art of the Qing Potter Important
in his catch, the rounded shoulder with concentric Chinese Export PorcelainոThe Chinese
bands of chevron, keyfret, and ruyi heads in iron Porcelain Company秣秉1997䎃管贫13
red, and with slender black-enameled bamboo
branching up the neck, coll. no. 120
ܧ❵
Height 9⅞ in., 24.6 cm շThe Chinese Porcelain Company A Dealer’s
Record 1985 2000ո秣秉2000䎃갤117
PROVENANCE
Je" rey P StamenCynthia Volk ⿻⧋❠俛
Sotheby’s London, 14th May 1996, lot 67. շ俒ꅷ⼾搭 : 悦誩㛔询䐁擳渿⚆櫙ո䋒ス
The Chinese Porcelain Company, Ltd., New York, 饟2017䎃㕬晝48
1997.
EXHIBITED
The Art of the Qing Potter, Important Chinese
Export Porcelain, The Chinese Porcelain
Company, New York, 1997, cat. no. 13.
LITERATURE
The Chinese Porcelain Company, A Dealer’s
Record 1985-2000, New York, 2000, p. 117.
Je" rey P. Stamen and Cynthia Volk with Yibin Ni,
A Culture Revealed, Kangxi-Era Chinese Porcelain
from the Jie Rui Tang Collection, Bruges, 2017,
cat. no. 48.
The bold linear style of painting on the present
vase is a superb example of late ‘Master of the
Rocks’ style. Initially produced in underglaze blue,
this later iteration in overglaze enamels retains
the angularity but refrains from the pronounced
linearity and the dots and stippling used to
depict foliage. The style cannot be attributed
to any single artist or studio but re$ ects the
profound in$ uence of certain late Ming dynasty
painters such as Dong Qichang, Li Shida, Gu
Tianchi, Yang Wencong, and Wang Jianzhang.
The jagged quality of the rockwork is softened
by the rounder, more delicate strokes used for
the foliage and the pale washes forming water
and sky. The tiny habitations convey the longing
for scholarly retreat far from the pressures of
dynastic change and bureaucratic demands.
For more on the topic see Stephen Little,
‘Seventeenth Century Landscape Painting and
the Decoration of Chinese Ceramics’, Chinese
Porcelains of the Seventeenth Century, China
Institute Gallery, New York, 1995, pp. 35-41.
A pair of vases of similar form, but with integral
porcelain stands, in the collection of Anthony
Gustav de Rothschild is illustrated in Regina Krahl,
The Anthony de Rothschild Collection of Chinese
Ceramics, vol. 2, London, 1996, cat. no. 151.
$ 25,000-35,000

24 SOTHEBY’S