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Lot Essay
The application of turquoise glazes appeared on Jingdezhen porcelain as early as the Yuan dynasty; and an example of a turquoise-glazed circular box and cover, dated to the Yuan period, was included in the exhibition, Ceramic Finds from Jingdezhen Kilns, the Fung Ping Shan Museum, Hong Kong, 1992, illustrated in the Catalogue, pl. 167.
Although it is used intermittently throughout the Ming dynasty, the brilliant turquoise colour serves to emphasise the elegance of form. One of the best examples is the impressive stoneware wine jar (guan) dated to the 15th century which was included in the exhibition, Imperial Taste: Chinese Ceramics from the Percival David Foundation, and illustrated by R. Scott in the Catalogue, no. 36. The glaze of the Percival David Foundation guan is applied on the biscuit, a technique which evidently continued into the Qing dynasty contributing to the repertoire of Qing monochromes. As the turquoise glaze owes its colour to copper oxide in an alkaline glaze mix, both the Ming guan and the present Qing vase share similar characteristics in the networks of fine crackles and the formation of thick welts just above the bases.
A related turquoise-glazed vase of compressed globular form with a similarly impressed Qianlong mark on the base, formerly from the E.T. Chow collection, was included in the exhibition, Chinese Porcelain: The S.C. Ko Tianminlou Collection, Hong Kong Museum of Art, 1987, illustrated in the Catalogue, Part I, no. 153.
(US$80,000-100,000)
Although it is used intermittently throughout the Ming dynasty, the brilliant turquoise colour serves to emphasise the elegance of form. One of the best examples is the impressive stoneware wine jar (guan) dated to the 15th century which was included in the exhibition, Imperial Taste: Chinese Ceramics from the Percival David Foundation, and illustrated by R. Scott in the Catalogue, no. 36. The glaze of the Percival David Foundation guan is applied on the biscuit, a technique which evidently continued into the Qing dynasty contributing to the repertoire of Qing monochromes. As the turquoise glaze owes its colour to copper oxide in an alkaline glaze mix, both the Ming guan and the present Qing vase share similar characteristics in the networks of fine crackles and the formation of thick welts just above the bases.
A related turquoise-glazed vase of compressed globular form with a similarly impressed Qianlong mark on the base, formerly from the E.T. Chow collection, was included in the exhibition, Chinese Porcelain: The S.C. Ko Tianminlou Collection, Hong Kong Museum of Art, 1987, illustrated in the Catalogue, Part I, no. 153.
(US$80,000-100,000)