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拍品专文
This charming small meiping has as its main decoration a relatively early depiction of the Three Friends of Winter - pine, bamboo and prunus - which were to become so popular in the early Ming period. Another Yuan dynasty vessel on which the Three Friends of Winter provide the main decorative motif, is a tripod censer in the collection of the Palace Museum, Beijing, illustrated in Sekai toji zenshu, Tsugio Mikami (ed.), Tokyo, 1981, vol. 13, p. 217, pl. 229. A more cursively drawn version of the design also provides the main decorative band on a small pear-shaped vase excavated in Boyangxian in 1976 and illustrated in Zhongguo Jiangxi sheng wenwu zhan (Exhibition of Cultural Relics from Jiangxi Province), The Museum of Fine Arts, Gifu, 1988, p. 76, no. 67.
The current meiping has a fluently painted version of the Three Friends of Winter design and includes rocks and plantain as well as the three main plants. The way in which these plants are painted is closely related to their individual depiction on other vessels of the Yuan period. The bamboo, for instance, can be seen to be close in style to that depicted on the large blue and white bracket-lobed dish in the Burrell collection, Glasgow, published by R. Marks, R. Scott, et al., in The Burrell Collection, Collins, London/Glasgow, 1983, p. 52, pl.16. Aspects of the painting of bamboo, plantain and pine on the meiping also relate to those on the famous large Yuan dynasty meiping excavated in 1950 from the tomb of Mu Ying, at Jiangning, Jiangsu province and now in the Nanjing City Museum, illustrated in Zhonguo wenwu qinghua daquan - Taoci juan, Taipei, 1993, p. 328, no. 538. This Nanjing vase shares with the present meiping its truncated cone-shaped neck, full, rounded shoulders and sharply tapering foot.
The style of the bamboo on the meiping is also similar in style to that seen on a cup stand excavated from the Yuan remains at Luomaqiao, illustrated in Ceramic Finds from Jingdezhen Kilns, Fung Ping Shan Museum, University of Hong Kong, 1992, no. 163. The cup stand and its accompanying cup have been restored from fragments, and from the remaining pieces it seems possible that this too was originally decorated with the Three Friends of Winter. The minor bands on the current meiping - petal panels with pendent motif and pearl around the foot below a cash-pattern band, and petal panels with Buddhist and precious emblems around the shoulder - are shared with several Yuan dynasty vessels, including the fine, small jar illustrated in in Sekai toji zenshu, vol. 13, op. cit., p. 208, pl. 191.
The current meiping has a fluently painted version of the Three Friends of Winter design and includes rocks and plantain as well as the three main plants. The way in which these plants are painted is closely related to their individual depiction on other vessels of the Yuan period. The bamboo, for instance, can be seen to be close in style to that depicted on the large blue and white bracket-lobed dish in the Burrell collection, Glasgow, published by R. Marks, R. Scott, et al., in The Burrell Collection, Collins, London/Glasgow, 1983, p. 52, pl.16. Aspects of the painting of bamboo, plantain and pine on the meiping also relate to those on the famous large Yuan dynasty meiping excavated in 1950 from the tomb of Mu Ying, at Jiangning, Jiangsu province and now in the Nanjing City Museum, illustrated in Zhonguo wenwu qinghua daquan - Taoci juan, Taipei, 1993, p. 328, no. 538. This Nanjing vase shares with the present meiping its truncated cone-shaped neck, full, rounded shoulders and sharply tapering foot.
The style of the bamboo on the meiping is also similar in style to that seen on a cup stand excavated from the Yuan remains at Luomaqiao, illustrated in Ceramic Finds from Jingdezhen Kilns, Fung Ping Shan Museum, University of Hong Kong, 1992, no. 163. The cup stand and its accompanying cup have been restored from fragments, and from the remaining pieces it seems possible that this too was originally decorated with the Three Friends of Winter. The minor bands on the current meiping - petal panels with pendent motif and pearl around the foot below a cash-pattern band, and petal panels with Buddhist and precious emblems around the shoulder - are shared with several Yuan dynasty vessels, including the fine, small jar illustrated in in Sekai toji zenshu, vol. 13, op. cit., p. 208, pl. 191.