Lot Essay
It is very unusual to find published examples of early Ming dynasty cloisonne of such massive size; the most well-known published example is the Xuande marked jar and cover (62.1 cm. high) in the Pierre Uldry Collection, illustrated by H. Brinker and A. Lutz, Catalogue, no. 5.
A closely related but smaller censer with a Jingtai mark of raised on similar three-clawed feet but decorated with figures in landscape, from the Musee des Arts Decoratifs, Paris, is illustrated in Transactions of the Oriental Ceramic Society, vol. 30, The Oriental Ceramic Society, 1958, no. 317.
The scrolling lotus pattern of undulated vines encircling each formalised lotus bloom, appear on a number of early 15th century cloisonne vessels. Compare similar floral treatment on a censer with phoenix handles and cabriole legs from the Musee des Arts Decoratifs, illustrated by Sir Harry Garner, Chinese and Japanese Cloisonne Enamels, no. 15. Other examples include a tripod censer in the Pierre Uldry Collection, illustrated op. cit., no. 13; a vase with lotus scrolls enamelled on the globular body, illustrated in Chinese Art: The Minor Arts, Tokyo, 1964, no. 73; and a bowl sold in these Rooms, 2 November 1999, lot 798.
The inspiration of the Indian lotus bloom is probably a direct influence from ceramic production at the Imperial kilns at Jingdezhen where underglaze blue floral pattern in formal bands of this type continued from the Yuan dynasty. The lotus bloom appears to be one of the more popular motifs of the early 15th century. For ceramic examples, cf. a large blue and white bowl from the S. C. Ko Tianminlou Collection, Part I, The Urban Council, Hong Kong, no. 25; and a tripod incense burner in the Chang Foundation, included in the exhibition of Selected Hsuan-te Imperial Porcelain of the Ming Dynasty, illustrated in the Catalogue, no. 26.
(US$260,000-385,000)
A closely related but smaller censer with a Jingtai mark of raised on similar three-clawed feet but decorated with figures in landscape, from the Musee des Arts Decoratifs, Paris, is illustrated in Transactions of the Oriental Ceramic Society, vol. 30, The Oriental Ceramic Society, 1958, no. 317.
The scrolling lotus pattern of undulated vines encircling each formalised lotus bloom, appear on a number of early 15th century cloisonne vessels. Compare similar floral treatment on a censer with phoenix handles and cabriole legs from the Musee des Arts Decoratifs, illustrated by Sir Harry Garner, Chinese and Japanese Cloisonne Enamels, no. 15. Other examples include a tripod censer in the Pierre Uldry Collection, illustrated op. cit., no. 13; a vase with lotus scrolls enamelled on the globular body, illustrated in Chinese Art: The Minor Arts, Tokyo, 1964, no. 73; and a bowl sold in these Rooms, 2 November 1999, lot 798.
The inspiration of the Indian lotus bloom is probably a direct influence from ceramic production at the Imperial kilns at Jingdezhen where underglaze blue floral pattern in formal bands of this type continued from the Yuan dynasty. The lotus bloom appears to be one of the more popular motifs of the early 15th century. For ceramic examples, cf. a large blue and white bowl from the S. C. Ko Tianminlou Collection, Part I, The Urban Council, Hong Kong, no. 25; and a tripod incense burner in the Chang Foundation, included in the exhibition of Selected Hsuan-te Imperial Porcelain of the Ming Dynasty, illustrated in the Catalogue, no. 26.
(US$260,000-385,000)