拍品專文
Large, high shouldered, blue and white jars of this type are thought to have been made at the official kilns at Punwon in Kwangju in the mid to late 18th century. Often decorated with humorous and idiosyncratic compositions taken from folk paintings, they are boldly executed in underglaze cobalt blue beneath a blue-tinged white glaze and represent the most attractive and imposing of all 18th century Korean porcelains.
The present jar is decorated with symbols of longevity. These include: the moon and clouds, which were thought of as eternal; deer, which were the messengers and companions of the Immortals; cranes, which were the mounts on which the Immortals traveled to and from their mythical islands in the Eastern Sea; and pine branches, which remained green throughout the winter. The pairs of deer and cranes are also emblematic of marital harmony. Also typical of these jars is the line around the base from which four flowering plants emerge.
For similar examples see: Byung-chang Rhee, Masterpieces of Korean Art--Yi Ceramics (Tokyo: University of Tokyo Press, 1978), pls. 207, 208, 219, 224, and 225; Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection (New York: The Asia Society, 1981) p. 87; Sunu Choi, National Museum of Korea, Seoul in Oriental Ceramics--The World's Great Collections (Tokyo, New York and San Francisco: Kodansha Ltd., 1982), fig. 239; Richo koki sometsuke [Blue and White of the Latter Yi Dynasty, Korea], (Osaka: Museum of Oriental Ceramics, 1989) nos. 4, 7, 11, and 25.
The present jar is decorated with symbols of longevity. These include: the moon and clouds, which were thought of as eternal; deer, which were the messengers and companions of the Immortals; cranes, which were the mounts on which the Immortals traveled to and from their mythical islands in the Eastern Sea; and pine branches, which remained green throughout the winter. The pairs of deer and cranes are also emblematic of marital harmony. Also typical of these jars is the line around the base from which four flowering plants emerge.
For similar examples see: Byung-chang Rhee, Masterpieces of Korean Art--Yi Ceramics (Tokyo: University of Tokyo Press, 1978), pls. 207, 208, 219, 224, and 225; Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection (New York: The Asia Society, 1981) p. 87; Sunu Choi, National Museum of Korea, Seoul in Oriental Ceramics--The World's Great Collections (Tokyo, New York and San Francisco: Kodansha Ltd., 1982), fig. 239; Richo koki sometsuke [Blue and White of the Latter Yi Dynasty, Korea], (Osaka: Museum of Oriental Ceramics, 1989) nos. 4, 7, 11, and 25.