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Lot Essay
For similar examples and a discussion of this group of wares, see the notes by Mary Ann Rogers, where the author discusses the origins of this distinctive type of decoration in the Xuande period and its developments in the 15th and early 16th Centuries, In Pursuit of the Dragon, Traditions and Transitions in Ming Ceramics, An Exhibition from the Idemitsu Museum of Arts, Seattle Art Museum, 1988, Catalogue, p.98. The Idemitsu Museum owns examples from each of the five reign eras during which the type was produced. Apart from minor differences in the treatment of the flowers and choice of fruit, the group is largely consistent.
Often called hibiscus, the flower in the centre of the present example is now identified as a gardenia. See the article by Regina Krahl, Plant Motifs on Chinese Porcelain, Example from the Topkapi Saray Identified through the Bencao Gangmu, Part.1, Orientations, May 1987, pp.52-65.
Further examples can be found in many of the world's greatest museums and collections. See J. Ayers, Far Eastern Ceramics from the Victoria and Albert Museum, Tokyo, 1980, pl.153; J. Ayers, op.cit, vol.II, Geneva, 1969, Catalogue, no.A144; in an Exhibition of Ceramics from the Collection of the Shanghai Museum, Seibu Art Museum, Japan, 1984, Catalogue, p.110, no.80; The 15th Anniversary, Catalogue, Idemitsu Museum of Arts, Tokyo, 1981, no.796; Blue and White Ware of the Ming Dynasty, Book IV, National Palace Museum, Taibei, 1963, Catalogue, pp.40-41, pls.11, 11a, and 11b; Yutaka Mino and James Robinson, Beauty and Tranquility - The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, 1983, Catalogue, pp.246-247, pl.97; Margaret Medley, The Percival David Foundation of Chinese Art, Ming Polychrome Wares, London, 1978, Catalogue, pl.III, no.26.
Often called hibiscus, the flower in the centre of the present example is now identified as a gardenia. See the article by Regina Krahl, Plant Motifs on Chinese Porcelain, Example from the Topkapi Saray Identified through the Bencao Gangmu, Part.1, Orientations, May 1987, pp.52-65.
Further examples can be found in many of the world's greatest museums and collections. See J. Ayers, Far Eastern Ceramics from the Victoria and Albert Museum, Tokyo, 1980, pl.153; J. Ayers, op.cit, vol.II, Geneva, 1969, Catalogue, no.A144; in an Exhibition of Ceramics from the Collection of the Shanghai Museum, Seibu Art Museum, Japan, 1984, Catalogue, p.110, no.80; The 15th Anniversary, Catalogue, Idemitsu Museum of Arts, Tokyo, 1981, no.796; Blue and White Ware of the Ming Dynasty, Book IV, National Palace Museum, Taibei, 1963, Catalogue, pp.40-41, pls.11, 11a, and 11b; Yutaka Mino and James Robinson, Beauty and Tranquility - The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, 1983, Catalogue, pp.246-247, pl.97; Margaret Medley, The Percival David Foundation of Chinese Art, Ming Polychrome Wares, London, 1978, Catalogue, pl.III, no.26.
