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Lot Essay
The upper and lower sections are both scenes inspired by the classical novel, Sanguozhi Yanyi, commonly known as 'Romance of the Three Kingdoms'; and based on the collapse of the Eastern Han dynasty when China splintered into separate states struggling for political supremacy.
It is rare to find clearly defined and identifiable scenes as is the case of the present vase. The painting around the body depicts the story of Kong Cheng Ji, 'The Empty City Entrapment'. Seated inside the watch-tower the scholar playing the qin represents the well-known military strategist, General Zhu Geliang (A.D. 221-263). When Zhu found himself trapped by opposing general, Si Ma Yi, near the Western City, he extended an invitation to his opponents to ask that they should dine with him inside the city. The opened gates under the watch-tower represent an invitation to welcome the enemy, and servants are seen sweeping the path leading into the city. The opposition leader, suspecting a dastardly trick behind this offer, ordered his army to retreat without invading the city.
The scene decorating the upper section represents the meeting between Cao Cao (A.D. 155-220), the ruler of the State of Wei who seized control of north China, and Ma Chao, a military general. When Cao was defeated at Dong Guan, Ma immediately ordered his capture but Cao cunningly disguised himself by cutting off his beard and changing his robe. In pursuit, Ma tried to throw his spear at Cao but only managed to hit a tree trunk, thereby allowing Cao to make his escape.
Compare the scene depicting Liu Bei, who fought together with Guan Yu (later deified as Guandi, the Daoist God of War) against the tyranical Cao Cao, painted on a rouleau vase from the Edward T. Chow Collection, sold in these Rooms, 1 May 2000, lot 727. For a further reading on the subject, refer to the article by D. T. Johnson, 'Narrative Themes on Kangxi Porcelains in the Taft Museum', Orientations, August 1993, pp. 31-36.
It is rare to find clearly defined and identifiable scenes as is the case of the present vase. The painting around the body depicts the story of Kong Cheng Ji, 'The Empty City Entrapment'. Seated inside the watch-tower the scholar playing the qin represents the well-known military strategist, General Zhu Geliang (A.D. 221-263). When Zhu found himself trapped by opposing general, Si Ma Yi, near the Western City, he extended an invitation to his opponents to ask that they should dine with him inside the city. The opened gates under the watch-tower represent an invitation to welcome the enemy, and servants are seen sweeping the path leading into the city. The opposition leader, suspecting a dastardly trick behind this offer, ordered his army to retreat without invading the city.
The scene decorating the upper section represents the meeting between Cao Cao (A.D. 155-220), the ruler of the State of Wei who seized control of north China, and Ma Chao, a military general. When Cao was defeated at Dong Guan, Ma immediately ordered his capture but Cao cunningly disguised himself by cutting off his beard and changing his robe. In pursuit, Ma tried to throw his spear at Cao but only managed to hit a tree trunk, thereby allowing Cao to make his escape.
Compare the scene depicting Liu Bei, who fought together with Guan Yu (later deified as Guandi, the Daoist God of War) against the tyranical Cao Cao, painted on a rouleau vase from the Edward T. Chow Collection, sold in these Rooms, 1 May 2000, lot 727. For a further reading on the subject, refer to the article by D. T. Johnson, 'Narrative Themes on Kangxi Porcelains in the Taft Museum', Orientations, August 1993, pp. 31-36.