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拍品專文
John Carswell defined a group of Iznik blue and white vessels which shared a number of technical characteristics including a particularly intense blue, undulating stems with cloud-like petals, and frequently, as here, an underside which has cloud panels issuing leafy sprays (John Carswell: Iznik, London, 1998, pp.85-87). Indeed it is the base of the present dish that Professor Carswell reproduces as being the base of another dish of more typical Chinese design.
He questioned whether the group came from Kutahya or Iznik, but concluded that they were probably made in a highly individual workshop at Iznik. The present dish is probably the most idiosyncratic of the group. Its design is not found on any of the others; it appears to be a forerunner of a small number of dishes in the full polychrome style, each with four pairs of polychrome leaves radiating from a central rosette (Nurhan Atasoy and Julian Raby: Iznik, the Pottery of Ottoman Turkey, London, 1989, pls. 495 and 497, each on a scrolling ground). It also however serves to link the group to another contemporaneous group typified by the small groups of three scrolls forming the ground design which form the background to the central medallion seen here (Atasoy and Raby, op. cit., nos.436-440, pp.238-239. Sherds of this latter group were excavated at Iznik thus confirming the origin of manufacture (Oktay Alsanapa, Serare Yetkin and Ara Altun: The Iznik Tile Kiln Excavations, the second Round, Istanbul, 1989, p.148).
The palmettes around the exterior are also very unusual and are possibly the floral form most apposite of all to be given the name of "palmette". Their design is very close indeed to the painting of a blue and white palm tree on the very early Iznik spherical bottle base in the Museum of Islamic Art, Qatar (John Carswell: Iznik Pottery for the Ottoman Empire, Doha, 2003, no.1, pp.22-24).
He questioned whether the group came from Kutahya or Iznik, but concluded that they were probably made in a highly individual workshop at Iznik. The present dish is probably the most idiosyncratic of the group. Its design is not found on any of the others; it appears to be a forerunner of a small number of dishes in the full polychrome style, each with four pairs of polychrome leaves radiating from a central rosette (Nurhan Atasoy and Julian Raby: Iznik, the Pottery of Ottoman Turkey, London, 1989, pls. 495 and 497, each on a scrolling ground). It also however serves to link the group to another contemporaneous group typified by the small groups of three scrolls forming the ground design which form the background to the central medallion seen here (Atasoy and Raby, op. cit., nos.436-440, pp.238-239. Sherds of this latter group were excavated at Iznik thus confirming the origin of manufacture (Oktay Alsanapa, Serare Yetkin and Ara Altun: The Iznik Tile Kiln Excavations, the second Round, Istanbul, 1989, p.148).
The palmettes around the exterior are also very unusual and are possibly the floral form most apposite of all to be given the name of "palmette". Their design is very close indeed to the painting of a blue and white palm tree on the very early Iznik spherical bottle base in the Museum of Islamic Art, Qatar (John Carswell: Iznik Pottery for the Ottoman Empire, Doha, 2003, no.1, pp.22-24).