Page 185 - J.J. Lally Chinese Art CHRISTIE'S March 23 2023 NYC
P. 185

The waves from which the dragons
                                                                    on the current jar leap are probably

                                                                    intended to evoke the legend of the

                                                                    dragon rising from the waves at the
                                                                    spring equinox in order to bring rain
                                                                    to water the crops.









                                                                    Fig. 2 Jar (guan) with design of dragons amidst waves, late 15th century, Ming dynasty,
                                                                    probably Hongzhi period; porcelain with overglaze enamels; 7 ¼ x 8 ⅝ inches; Saint
                                                                    Louis Art Museum, Bequest of Samuel C. Davis 1108:1940.
                                                                    琺華龍紋➬
   ˠ紀末
 或為明弘治
 聖㊌易斯藝術博ḵ館
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 館藏
                                                                    編號
 Fig. 1 Dish with green dragons painted in raised slip on a yellow ground, mid-Chenghua period,
 Jingdezhen Institute of Ceramic Archaeology.
 黃ঃਙ綠龍紋盤
 成٪中期
 景德鎮市陶瓷考۵研②所


                                                                                                  th
 Book IV, Hung-chih Ware, Hong Kong, 1965, pls. 5, 5A-5-E, to   Many of these excavated jars belong to the group on which the   perhaps worth noting that the combination of cobalt blue and   relates to the waves on the famous late 15 century Ataka fahua guan
 th
 support a late 15 century date. However, since that catalogue   character tian (heaven) is written in underglaze blue on their base   copper turquoise can be seen on porcelains excavated from both   jar in the collection of the Museum of Oriental Ceramics, Osaka
 was written extensive new information on the porcelains of the   (see Jingdezhen chutu Yuan Ming guan ciqi (Yuan and Ming Imperial   the Xuande and Chenghua strata at the imperial Jingdezhen kilns.   (see R. Fujioka and G. Hasebe (eds.), Ceramic Art of the World, vol.
 Chenghua reign has been gleaned from archaeological excavations   Porcelain Unearthed from Jingdezhen), Beijing, 1999, pp. 304-7,   These bowls and dishes have underglaze blue aquatic designs   14, Ming Dynasty, Tokyo, 1976, p. 134, no. 135), and may represent
 carried out at the site of the imperial kilns, including the discovery   nos. 322-7, although, as might be expected, the doucai jars are of   covered with a turquoise glaze (see Jingdezhen chutu Yuan Ming   a slightly earlier incarnation of the motif. A further development
                                                                                            th
 of the fahua dish mentioned above. It is also interesting to compare   somewhat smaller size compared to the current fahua jar.  guan ciqi, op. cit., pp. 268-9, nos. 272-3 for Xuande examples,   of the design can be seen on a 16 century fahua temple vase
 the form of the dragons on the current jar with those painted in   and The Emperor’s broken china – Reconstructing Chenghua porcelain,   decorated with dragons above waves on a turquoise ground in the
 underglaze blue on a dish excavated from the early Chenghua   The palette used on the current jar of deep cobalt blue, vivid   op. cit., p. 104, no. 145 for a Chenghua example). The colour   Burrell Collection (see Rosemary Scott, ‘The Unexpected Chinese
 stratum at Jingdezhen. This dish is illustrated in A Legacy of   copper turquoise and brilliant white was to become the most   combination was thus well-established by the Chenghua reign. As   Ceramic Collection of Sir William Burrell (1861-1958)’, Transactions
 Chenghua – Imperial Porcelain of the Chenghua Reign Excavated from   popular colour combination on fahua porcelains of the late 15 th   the Jingdezhen fahua porcelains were biscuit-fired, and not given   of the Oriental Ceramic Society, vol. 85, 2021, p. 160, fig. 16).
 th
 Zhushan, Jingdezhen, Tsui Museum of Art, Hong Kong, 1993,    and early 16 century – often with the addition of small areas of   a clear porcelain glaze before the decorative colours added, the
 th
 pp. 100-101, no. A6. (Fig. 3)  yellow and/or aubergine purple. On the majority of 15 century   whole of the vessel needed to be covered with the coloured alkaline   As mentioned above, dragons are rare on fahua vessels, but a guan
 fahua vessels, cobalt blue was used as the ground colour – as on   glazes, including the ground. The finished effect had the visual   jar with four dragons is illustrated in ‘2000 Years of Chinese
 It is also worth noting that the shape of the current jar with its   the current jar. On a lesser number of vessels, turquoise was used   intensity of an embroidery on dark blue satin.  Ceramics’, The Newark Museum Quarterly, Summer/Fall 1977,
 wide, rounded shoulders, tapering sides and slightly compressed   as the ground colour, while the aforementioned reign-marked   fig. 32; a fahua guan jar with dragons, dated to 1500, was sold by
 profile was one that rose in popularity in the Chenghua reign. The   dishes excavated from the imperial kilns have a yellow ground.   The waves from which the dragons on the current jar leap are   Sotheby’s Hong Kong in November 1990, lot 155 and again in
 excavations at the imperial kilns revealed a wealth of jars of this   The use of a thin copper green glaze on the interior of the current   probably intended to evoke the legend of the dragon rising from   2005, lot 295. A fahua guan jar with turquoise ground, decorated
 form amongst the doucai wares from the late Chenghua stratum.   jar is common to many closed-form fahua porcelain vessels. It is   the waves at the spring equinox in order to bring rain to water the   with four dragons was sold by Christie’s New York in September
               crops. The form of these waves, with their white-tipped spume   2022, lot 968. However, the distinctive shape of the current jar,




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 Ӵ青花龍紋,比對結果ऱ樣引՞入勝,該盤圖見《成窯遺Ⅷ:景德鎮ⅸ  本品器內薄施松⒢綠釉,這一手法Ք見於許多閉भ式的琺花器ǯ或須  阪市立東洋陶磁美ワ館安宅舊藏中著ल的十Ն世紀末琺花罐遙相ঈ  曾拍出一例據稱為    年的琺花龍紋罐 	拍品編號   
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ǯ    年 月,紐約צ士得Ք拍出一例松⒢


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