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Lot Essay
A Rare Hongwu Underglaze Blue Ewer
Rosemary Scott, Independent Scholar
It is no surprise that this rare Hongwu ewer was formerly a prized possession of the famous Japanese artist Sadao Tsubaki (1896-1957), and was included in Sadao Tsubaki Retrospective, Yonezawa, 2008, p. 128. The ewer represents the important transition from the painting style seen on Yuan porcelains to the more naturalistic depictions of the early 15th century. The extended size of the major decorative band on Hongwu vertical forms of this type allowed for plants to be shown growing from a coherent ground plane, which was frequently enhanced by ornamental rocks. This design feature can be seen on rare examples of both underglaze blue and underglaze red porcelains of the Hongwu reign.
It is clear from both textual and archaeological evidence that Ming imperial porcelain production was established in the 2nd year of the Hongwu reign (1369). It has also been shown that the Imperial Hongwu kilns used the same fine porcelain clay, from Macang, that had been reserved for imperial production in the Yuan dynasty. While a large proportion of Hongwu underglaze-decorated porcelains preserved in international collections bear designs in underglaze copper red, excavations at the imperial kiln site have unearthed a significant number of porcelains decorated in cobalt blue. The blue is often of a somewhat softer tone than that of Yuan dynasty wares, and it has been suggested that this may be the result of using native Chinese cobalt, rather than the iron-rich cobalt imported from the west. However, the development of underglaze blue and underglaze red decoration ran along parallel lines on the porcelains of the Hongwu reign, with similar forms and decorative schemes being found on both blue- and red-decorated pieces.
The choice of decoration encircling the current ewer is the ‘Three Friends of Winter’, represented by pine, bamboo and prunus. This motif first appears on porcelains of the Yuan dynasty, but the three plants are mentioned together as early as the 9th century by the Tang dynasty poet Zhu Qingyu, and specifically as the ‘Friends of Winter’ by the Song dynasty writer Lin Jingxi (1242–1310) in Record of the Five-cloud Plum Cottage from The Clear Mountain Collection. Pine, bamboo, and prunus were all noted for their ability to withstand harsh winters and came to symbolise steadfastness, resilience, and perseverance, also representing the ideal qualities of a gentleman-scholar.
The encircling depiction of the ‘Three Friends of Winter’ that can be seen on an underglaze blue decorated ewer excavated in 1994 from a Hongwu stratum at Dongmentou, Zhushan, Jingdezhen – included by the Chang Foundation in Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, pp. 72-3, no. 3 (fig. 1) – shares a number of important similarities with the current ewer. The excavated ewer has, for example, similarly proportioned minor bands to those on the current ewer, with the exception of the cloud-collar around the shoulders of the excavated vessel, which is unusually large. The two ewers share exactly the same treatment of the spout and strap handle, as well as plantain leaves on the neck, squared spiral band on a level with the junction of handle to neck, petal panels around the lower body, and classic scroll around the foot. Both ewers have a neatly-painted floral scroll above the cloud-collar band, but the excavated vessel has a camellia scroll, while the current ewer has a chrysanthemum scroll. This chrysanthemum scroll is typical of those applied to porcelains in the Hongwu reign, as it has a band of short, white, petals surrounding the centre of each flower.
There are several significant features, typical of Hongwu porcelain painting style, which can be seen on both the current and excavated ewers. These include the sturdy, gnarled appearance of pine tree trunk, and the fact that the pine needles are of different length, which gives a softer appearance – in contrast to the neat, wheel-like needles of single length, seen on early 15th century porcelains. Another characteristic feature is the treatment of the rocks, which on both ewers have heavy outlines, inside which are wide bands of white, before the interior of the wider rocks is painted deep blue.
A large Hongwu underglaze copper red jar from the collection of Mr and Mrs John D. Rockefeller 3rd, now in the Asia Society, New York (illustrated by Fujio Nakazawa and Shoko Hasegawa in Chinese Ceramics, vol. 8, Blue-and-white in Yuan and Ming, Heibonsha, 1995, no. 20) (fig. 2) is also decorated within its major encircling band with the ‘Three Friends of Winter’. Interestingly, like the current ewer, some additional flowers have been included in the design. In the case of the large jar these flowers include camellias, but in the case of the current ewer, the additional flowers appear to be budding pomegranate blossoms. Although not indigenous to China, pomegranates have been cultivated there since the 3rd century BCE. Pomegranate flowers have long been admired for their brilliant red colour, which, in addition to being the colour of celebration, was believed to ward off evil, and thus the flowers were used as an adornment by women, especially on the fifth day of fifth month, which was traditionally regarded as the most pernicious day of the year.
It is interesting to note that a depiction of the ‘Three Friends of Winter’, with a chrysanthemum scroll above, similar to that on the current ewer, can be seen on an underglaze copper red meiping excavated in 1957 from the tomb of Princess Ancheng (1384-1443), daughter of the Yongle Emperor (1402-24) – illustrated by the National Museums of Scotland in Ming – The Golden Empire, Edinburgh, 2014, p. 17, no. 16 (fig. 3). Although the date of the Princess’s death, 1443, would place it in the Zhengtong reign (1435-49), it seems most likely that the vase in fact dates to the Hongwu reign, and was a valuable heirloom at the time it was placed in the tomb. This meiping, which is now preserved in the Nanjing Museum, confirms the court’s admiration for this particular decorative scheme.
Rosemary Scott, Independent Scholar
It is no surprise that this rare Hongwu ewer was formerly a prized possession of the famous Japanese artist Sadao Tsubaki (1896-1957), and was included in Sadao Tsubaki Retrospective, Yonezawa, 2008, p. 128. The ewer represents the important transition from the painting style seen on Yuan porcelains to the more naturalistic depictions of the early 15th century. The extended size of the major decorative band on Hongwu vertical forms of this type allowed for plants to be shown growing from a coherent ground plane, which was frequently enhanced by ornamental rocks. This design feature can be seen on rare examples of both underglaze blue and underglaze red porcelains of the Hongwu reign.
It is clear from both textual and archaeological evidence that Ming imperial porcelain production was established in the 2nd year of the Hongwu reign (1369). It has also been shown that the Imperial Hongwu kilns used the same fine porcelain clay, from Macang, that had been reserved for imperial production in the Yuan dynasty. While a large proportion of Hongwu underglaze-decorated porcelains preserved in international collections bear designs in underglaze copper red, excavations at the imperial kiln site have unearthed a significant number of porcelains decorated in cobalt blue. The blue is often of a somewhat softer tone than that of Yuan dynasty wares, and it has been suggested that this may be the result of using native Chinese cobalt, rather than the iron-rich cobalt imported from the west. However, the development of underglaze blue and underglaze red decoration ran along parallel lines on the porcelains of the Hongwu reign, with similar forms and decorative schemes being found on both blue- and red-decorated pieces.
The choice of decoration encircling the current ewer is the ‘Three Friends of Winter’, represented by pine, bamboo and prunus. This motif first appears on porcelains of the Yuan dynasty, but the three plants are mentioned together as early as the 9th century by the Tang dynasty poet Zhu Qingyu, and specifically as the ‘Friends of Winter’ by the Song dynasty writer Lin Jingxi (1242–1310) in Record of the Five-cloud Plum Cottage from The Clear Mountain Collection. Pine, bamboo, and prunus were all noted for their ability to withstand harsh winters and came to symbolise steadfastness, resilience, and perseverance, also representing the ideal qualities of a gentleman-scholar.
The encircling depiction of the ‘Three Friends of Winter’ that can be seen on an underglaze blue decorated ewer excavated in 1994 from a Hongwu stratum at Dongmentou, Zhushan, Jingdezhen – included by the Chang Foundation in Imperial Hongwu and Yongle Porcelain excavated at Jingdezhen, Taipei, 1996, pp. 72-3, no. 3 (fig. 1) – shares a number of important similarities with the current ewer. The excavated ewer has, for example, similarly proportioned minor bands to those on the current ewer, with the exception of the cloud-collar around the shoulders of the excavated vessel, which is unusually large. The two ewers share exactly the same treatment of the spout and strap handle, as well as plantain leaves on the neck, squared spiral band on a level with the junction of handle to neck, petal panels around the lower body, and classic scroll around the foot. Both ewers have a neatly-painted floral scroll above the cloud-collar band, but the excavated vessel has a camellia scroll, while the current ewer has a chrysanthemum scroll. This chrysanthemum scroll is typical of those applied to porcelains in the Hongwu reign, as it has a band of short, white, petals surrounding the centre of each flower.
There are several significant features, typical of Hongwu porcelain painting style, which can be seen on both the current and excavated ewers. These include the sturdy, gnarled appearance of pine tree trunk, and the fact that the pine needles are of different length, which gives a softer appearance – in contrast to the neat, wheel-like needles of single length, seen on early 15th century porcelains. Another characteristic feature is the treatment of the rocks, which on both ewers have heavy outlines, inside which are wide bands of white, before the interior of the wider rocks is painted deep blue.
A large Hongwu underglaze copper red jar from the collection of Mr and Mrs John D. Rockefeller 3rd, now in the Asia Society, New York (illustrated by Fujio Nakazawa and Shoko Hasegawa in Chinese Ceramics, vol. 8, Blue-and-white in Yuan and Ming, Heibonsha, 1995, no. 20) (fig. 2) is also decorated within its major encircling band with the ‘Three Friends of Winter’. Interestingly, like the current ewer, some additional flowers have been included in the design. In the case of the large jar these flowers include camellias, but in the case of the current ewer, the additional flowers appear to be budding pomegranate blossoms. Although not indigenous to China, pomegranates have been cultivated there since the 3rd century BCE. Pomegranate flowers have long been admired for their brilliant red colour, which, in addition to being the colour of celebration, was believed to ward off evil, and thus the flowers were used as an adornment by women, especially on the fifth day of fifth month, which was traditionally regarded as the most pernicious day of the year.
It is interesting to note that a depiction of the ‘Three Friends of Winter’, with a chrysanthemum scroll above, similar to that on the current ewer, can be seen on an underglaze copper red meiping excavated in 1957 from the tomb of Princess Ancheng (1384-1443), daughter of the Yongle Emperor (1402-24) – illustrated by the National Museums of Scotland in Ming – The Golden Empire, Edinburgh, 2014, p. 17, no. 16 (fig. 3). Although the date of the Princess’s death, 1443, would place it in the Zhengtong reign (1435-49), it seems most likely that the vase in fact dates to the Hongwu reign, and was a valuable heirloom at the time it was placed in the tomb. This meiping, which is now preserved in the Nanjing Museum, confirms the court’s admiration for this particular decorative scheme.