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Lot Essay
The present vase is one of the finest examples of early-Ming Longquan celadon wares probably produced at the Imperial kilns in Chuzhou. Although a few other similar Longquan yuhunchunping are known, the present vase is distinguished by its generously-proportioned body and the fluid carving, and its decoration appears to be unique.
The majority of similar examples follow a standard arrangement of motifs, carved from top to bottom with bands of upright plantain leaves, key frets, classic scroll, pendent-ruyi collar, floral scroll, upright petals, and key frets again. Dominating the decoration is the wide register of floral scroll, with peony and lotus being the two most frequently depicted. For examples of the former, compare to a vase in the National Palace Museum, Taipei, illustrated in Green-Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 106-7, no. 51, and four other vases in the same institution carved in a more cursory manner, see ibid., pp. 108-113, pls. 52-5; and another in the Palace Museum, Beijing, illustrated in Celadons from Longquan Kilns, Taipei, 2014, p. 188, no. 161; and two sold at auctions, one at Christie’s Hong Kong, 1 October 1991, lot 732, the other at Sotheby’s Hong Kong, 5 November 1996, lot 635. Examples of the later include a vase in the National Palace Museum, Taipei, ibid, pp. 114-5, no. 56; a second in the Topkapi Saray Museum, illustrated by Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, p. 295, pl. 223; and a third illustrated in Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow, London, 1963, pl. 95b. Compare also to a vase with blossoming pomegranate scroll as the major band in the Palace Museum, Beijing, illustrated by Huang Wenwen in Qinggong jiucang Mingdai Longquan qingci yanjiu, The Research of Porcelain of Longquan Kiln, Beijing, p. 247, fig. 3, and one with grapevines in the Meiyintang Collection, illustrated in Chinese Ceramics from the Meiyintang Collection, vol. three (II), London, 2006, pl. 1582.
The majority of similar examples follow a standard arrangement of motifs, carved from top to bottom with bands of upright plantain leaves, key frets, classic scroll, pendent-ruyi collar, floral scroll, upright petals, and key frets again. Dominating the decoration is the wide register of floral scroll, with peony and lotus being the two most frequently depicted. For examples of the former, compare to a vase in the National Palace Museum, Taipei, illustrated in Green-Longquan Celadon of the Ming Dynasty, Taipei, 2009, pp. 106-7, no. 51, and four other vases in the same institution carved in a more cursory manner, see ibid., pp. 108-113, pls. 52-5; and another in the Palace Museum, Beijing, illustrated in Celadons from Longquan Kilns, Taipei, 2014, p. 188, no. 161; and two sold at auctions, one at Christie’s Hong Kong, 1 October 1991, lot 732, the other at Sotheby’s Hong Kong, 5 November 1996, lot 635. Examples of the later include a vase in the National Palace Museum, Taipei, ibid, pp. 114-5, no. 56; a second in the Topkapi Saray Museum, illustrated by Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. I, p. 295, pl. 223; and a third illustrated in Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow, London, 1963, pl. 95b. Compare also to a vase with blossoming pomegranate scroll as the major band in the Palace Museum, Beijing, illustrated by Huang Wenwen in Qinggong jiucang Mingdai Longquan qingci yanjiu, The Research of Porcelain of Longquan Kiln, Beijing, p. 247, fig. 3, and one with grapevines in the Meiyintang Collection, illustrated in Chinese Ceramics from the Meiyintang Collection, vol. three (II), London, 2006, pl. 1582.