Lot Essay
For a very similar example and a discussion of these wares, see the exhibition Catalogue, In Pursuit of the Dragon, Traditions and Transitions in Ming Ceramics, An Exhibition from the Idemitsu Museum Of Arts, Seattle Art Museum, 1988, p.98, no. 36, where the author, Mary Ann Rogers, notes that although this bold design and distinctive underglaze-blue composition set off by a lovely yellow ground originated in the Xuande period, it was most frequently produced during the late fifteenth and early sixteenth centuries. (The Idemitsu Museum owns an example from each of the five reign eras during which the type was produced.) Previous to the Hongzhi period, more often than not, the base was left unglazed and the reign mark written in a horizontal white-reserve rectangular panel on the exterior below the rim. A rare example with a Xuande mark on a glazed base is illustrated in Blue and White Ware of the Ming Dynasty, Book II, (part 2), National Palace Museum, Hong Kong, 1963, Catalogue, pp. 150-151, pl. 61, 61a and 61b. Otherwise the group is by and large consistent, with some variation in the types of fruits and flowers. Technical and stylistic features vary according to the period
Often called hibiscus, the flower in the center of the present dish, is now identified as gardenia. See an article by Regina Krahl, "Plant Motifs of Chinese Porcelain, Examples from the Topkapi Saray Identified through the Bencao Gangmu", Part I, Orientations, May, 1987, pp.52-65
Examples can be found in many of the world's great museums and collections. See John Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, Kodansha, Tokyo, 1980, pl. 153; Mayuyama, Seventy Years, Tokyo, 1976, vol. I, nos. 797 and 804; John Ayers, The Baur Collection, vol. II, Geneva, 1969, Catalogue, no. A144; in An Exhibition of Ceramics from the Collection of the Shanghai Museum, Seibu Art Museum, Japan, 1984, Catalogue, p. 110, no. 80; The 15th Aniversary Catalogue, Idemitsu Museum of Arts, Tokyo, 1981, no. 796; Suzanne G. Valenstein, A Handbook of Chinese Ceramics, The Metropolitan Museum of Art, New York, 1989 ed., p. 158, no. 152; Blue and White Ware of the Ming Dynasty, Book IV, National Palace Museum, Hong Kong, 1963, Catalogue, pp. 40-41, pls. 11, 11a and 11b; Yutaka Mino and James Robinson, Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, 1983, Catalogue, pp.246-247, pl. 97; Margaret Medley, The Percival David Foundation of Chinese Art, Ming Polychrome Wares, London, 1978, Catalogue, pl. III, no. 26; Ryuji Hirano (ed.), Kotoken Senka, Osaka, 1988, p.175, no. 86; Ferne Völker, Frühe Zeiten, Catalogue, Linden-Museum, Stuttgart, 1982, no. F31; and T.O.C.S., vol. 38, 1969-1971, p. 110, pl. 113, no. 163, from the R.F.A. Riesco Collection
An almost identical dish from the Christina Loke Balsara Collection was sold in our Hong Kong rooms, January 19, 1988, lot 260. Another from a Florida Private Collection sold in our New York rooms, November, 29, 1990, lot 179
Often called hibiscus, the flower in the center of the present dish, is now identified as gardenia. See an article by Regina Krahl, "Plant Motifs of Chinese Porcelain, Examples from the Topkapi Saray Identified through the Bencao Gangmu", Part I, Orientations, May, 1987, pp.52-65
Examples can be found in many of the world's great museums and collections. See John Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, Kodansha, Tokyo, 1980, pl. 153; Mayuyama, Seventy Years, Tokyo, 1976, vol. I, nos. 797 and 804; John Ayers, The Baur Collection, vol. II, Geneva, 1969, Catalogue, no. A144; in An Exhibition of Ceramics from the Collection of the Shanghai Museum, Seibu Art Museum, Japan, 1984, Catalogue, p. 110, no. 80; The 15th Aniversary Catalogue, Idemitsu Museum of Arts, Tokyo, 1981, no. 796; Suzanne G. Valenstein, A Handbook of Chinese Ceramics, The Metropolitan Museum of Art, New York, 1989 ed., p. 158, no. 152; Blue and White Ware of the Ming Dynasty, Book IV, National Palace Museum, Hong Kong, 1963, Catalogue, pp. 40-41, pls. 11, 11a and 11b; Yutaka Mino and James Robinson, Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, 1983, Catalogue, pp.246-247, pl. 97; Margaret Medley, The Percival David Foundation of Chinese Art, Ming Polychrome Wares, London, 1978, Catalogue, pl. III, no. 26; Ryuji Hirano (ed.), Kotoken Senka, Osaka, 1988, p.175, no. 86; Ferne Völker, Frühe Zeiten, Catalogue, Linden-Museum, Stuttgart, 1982, no. F31; and T.O.C.S., vol. 38, 1969-1971, p. 110, pl. 113, no. 163, from the R.F.A. Riesco Collection
An almost identical dish from the Christina Loke Balsara Collection was sold in our Hong Kong rooms, January 19, 1988, lot 260. Another from a Florida Private Collection sold in our New York rooms, November, 29, 1990, lot 179