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拍品专文
Compare the related brushpots with faux-bois borders around landscapes, illustrated in Kangxi, Yongzheng and Qianlong Porcelain from the Palace Museum Collection, col. pls. 47 and 68. Compare also the brushpot in the Victoria and Albert Museum, illustrated in the revised Sekai Toji Zenshu, vol. 15, pl. 197, with simulated wood borders continuing into the interior
Compare also the square brushpot with recessed landscape panels in the manner of the present example, but with a plain border, illustrated in Porcelains with Cloisonne Enamel Decoration, Hong Kong, 1999, p. 63, pl. 53, dated Yongzheng.
Rosemary Scott discusses the style of decoration on this group in 'Some Influences on the Painting Style of Qing Overglaze Enamel Wares' in Imperial Taste, Chinese Ceramics from the Percival David Foundation, 1989, pp. 115-118, including the use of the 'new rich black or sepia enamel' giving an effect 'akin to that of the slightly austere monochrome paintings in ink on paper or silk so favoured by Chinese connoisseurs'. She illustrates a Yongzheng bowl, fig. 1, with a horizontal section of a prunus tree together with a related thirteenth century handscroll by Yansou, fig. 2, and also a pair of dishes, fig. 3, with landscapes possibly inspired by an artist working in the style of the Yuan master Ni Zan
Compare also the square brushpot with recessed landscape panels in the manner of the present example, but with a plain border, illustrated in Porcelains with Cloisonne Enamel Decoration, Hong Kong, 1999, p. 63, pl. 53, dated Yongzheng.
Rosemary Scott discusses the style of decoration on this group in 'Some Influences on the Painting Style of Qing Overglaze Enamel Wares' in Imperial Taste, Chinese Ceramics from the Percival David Foundation, 1989, pp. 115-118, including the use of the 'new rich black or sepia enamel' giving an effect 'akin to that of the slightly austere monochrome paintings in ink on paper or silk so favoured by Chinese connoisseurs'. She illustrates a Yongzheng bowl, fig. 1, with a horizontal section of a prunus tree together with a related thirteenth century handscroll by Yansou, fig. 2, and also a pair of dishes, fig. 3, with landscapes possibly inspired by an artist working in the style of the Yuan master Ni Zan