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拍品專文
For other jars see John Ayers, Far Eastern Ceramics in the Victoria & Albert Museum (London: Victoria and Albert Museum, 1980), pl. 260; Soame Jenyns, Japanese Porcelain (London: Faber and Faber, Ltd., 1965), no. 57b (ex. coll. Richard de la Mare); Friedrich Reichel, Early Japanese Porcelain: Arita porcelain in the Dresden Collection (London: Orbis Publishing, 1981), pl. 18 [Dutch Delft cover]; John Ayers et al., Porcelain for Palaces: The Fashion for Japan in Europe 1650--1750, exh. cat. (London: Oriental Ceramic Society and British Museum, 1990), pl. 138 (also coll. Porzellansammlung, Dresden); Mark Hinton and Oliver Impey, Flowers of Fire: Kakiemon Porcelain from the English Country House, exh. cat. (London: Christie, Manson and Woods, 1989), pl. 35 (coll. Blenheim Palace); Gervase Jackson-Stops, ed., The Treasure Houses of Britain, exh. cat. (Washington, D. C.: National Gallery of Art, 1985), pl. 131 (coll. Woburn Abbey); Yabe Yoshiaki, ed., Imari, Nihon no bijutsu 6, no. 157 (Tokyo: Shibundo, 1979), no. 121 (coll. Matsuoka Museum); ibid, Kakiemon, vol. 20 of Nihon toji taisei (Compendium of Japanese ceramics) (Tokyo: Heibonsha, 1989), pl. 36 (coll. Matsuoka Museum); Imaizumi Motosuke, Genshoku Nihon no meito Ko-Imari to Kakiemon (Important Japanese polychrome ceramics: Ko-Imari and Kakiemon) (Tokyo: Yuzankaku, 1970), pl. 67; Kurita Hideo, Kurita korekushon kiseki to tenkai/History of the Kurita Collection and Museum (Tokyo: Kurita Museum, 1990), unnumbered color pl.; Hayashiya Seizo, Kakiemon, vol. 9 of Nihon no toji (Tokyo: Chuo Koronsha, 1974), pl. 94.
This jar was made in Arita for export to Europe and was probably commissioned by the Dutch East India Company at a time when Chinese wares were temporarily difficult to obtain. Porcelain exports from Japan peaked in the 1680's.
The shape is Chinese and the panel design shows two Chinese figures, one holding a Chinese-style fan, the other a domed parasol. The parasol is depicted without ribs, as if the painter was following a model that left him highly confused. The inspiration for the compositon of plum, chrysanthemum and bamboo with oversized bird and blossoms comes from the Chinese enamels of the late Kangxi period (1662-1722), and the figure types can be found on 17th century Chinese blue and white export wares of the Transitional period (1620-83).
Massive jars such as this were destined for display in European palaces, in this case either the building called the Dutch Palace or its successor, the uncompleted Japanese Palace of Frederick Augustus I (1670-1733), Elector of Saxony and King of Poland, better known as Augustus the Strong, who began forming his important collection of Asian porcelain in Dresden around 1715.
This jar was made in Arita for export to Europe and was probably commissioned by the Dutch East India Company at a time when Chinese wares were temporarily difficult to obtain. Porcelain exports from Japan peaked in the 1680's.
The shape is Chinese and the panel design shows two Chinese figures, one holding a Chinese-style fan, the other a domed parasol. The parasol is depicted without ribs, as if the painter was following a model that left him highly confused. The inspiration for the compositon of plum, chrysanthemum and bamboo with oversized bird and blossoms comes from the Chinese enamels of the late Kangxi period (1662-1722), and the figure types can be found on 17th century Chinese blue and white export wares of the Transitional period (1620-83).
Massive jars such as this were destined for display in European palaces, in this case either the building called the Dutch Palace or its successor, the uncompleted Japanese Palace of Frederick Augustus I (1670-1733), Elector of Saxony and King of Poland, better known as Augustus the Strong, who began forming his important collection of Asian porcelain in Dresden around 1715.