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拍品專文
In her note to this brush pot in the exhibition catalogue, Shunzhi Porcelain: Treasures from an Unknown Reign, 1644-1661, Alexandria, VA, 2002, p. 134, Dr. Julia Curtis refers to the essay by Qianshen Bai in the same publication and notes that he concludes “vessels signed with seals reading Zhuying (Bamboo Shadow) were made by a kiln that described itself as the “Studio of Ten Thousand Bamboo” or “Studio for Appreciating Bamboo.”
In the 2006 publication, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collection: Beauty’s Enchantment, p. 51, Wang Qingzheng goes into further detail about this kiln, also known as the Ke Bamboo Studio, noting other seals used by the kiln, and that it was the most important non-imperial kiln of its time. See, also, pp. 51-53 for a discussion of the characteristics of other wares from this kiln as well as a reference to the present brush pot.
In the 2006 publication, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collection: Beauty’s Enchantment, p. 51, Wang Qingzheng goes into further detail about this kiln, also known as the Ke Bamboo Studio, noting other seals used by the kiln, and that it was the most important non-imperial kiln of its time. See, also, pp. 51-53 for a discussion of the characteristics of other wares from this kiln as well as a reference to the present brush pot.