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拍品專文
The surface of the vast majority of Yixing wares simply displays the body material of the vessel with molded, carved or applied decoration. Glazing or surface painting are rare. A small number of Yixing wares are glazed, usually with a robin's egg glaze, as in the case of a square 18th century teapot in the K.S. Lo collection illustrated in Yixing Purple Clay Wares, Hong Kong, 1994, p. 81, no. 33, or a Jun-type glaze, as in the case of a small Kangxi seal-paste box in the Percival David Foundation illustrated by R. Scott in For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, Singapore/London, 1997, p. 107, no. 38. Painted decoration is particularly rare and may take the form of enameled decoration like that of a 19th century teapot in the K.S. Lo Collection illustrated in Yixing Purple Clay Wares, op. cit., p. 109, no. 64. Much more in keeping with the literati aesthetic, however, is the subtle and refined painting in natural slip colors seen on the current brush pot. The landscape on this brush pot mirrors that seen in contemporary literati painting on paper or silk, and indeed both the subject and the layout of the landscape mirror that of a hand scroll.
One difference from the hand scroll layout is that the artist's seal appears not on the 'painting' itself, but on the base of the vessel. The name of the artist is Yang Jichu, who is recorded in Chongkan jingxi xianzhi (The Republished Jingxi Gazetteer) compiled by Tang Zhongmian during the Qing dynasty. Yang is noted as being active during the same period as Chen Hanwen, mid 17th-early 18th century. Like Chen Hanwen, Yang Jichu is famous for his work on Yixing wares, especially those, like the current brush pot, which are painted in colored slips.
Several slip-painted brush pots decorated in a similar painterly style with landscapes are preserved in the Palace Museum, Beijing, and are illustrated in The Complete Collection of Treasures of the Palace Museum - Purple Sandy Ware, Beijing, 2008, pp. 141-8. Two of these Palace Museum examples bear the seal of Yang Jichu - one of them (no. 116) has a beige body (Fig. 1), similar to that of the current example, while the other (no. 115) is made from dark brown clay. Both are dated to the Qianlong period, as is another stylistically similar example without a seal mark, which is also in the collection of the Palace Museum (illustrated ibid., no. 114). Interestingly, the Beijing Palace Museum also has a brush pot painted in similar style with a scholar seated in a thatch-roofed pavilion overlooking a lake beside a willow tree which bears a Qianlong mark, illustrated ibid., no. 113. (Fig. 2) A brush pot almost identical to the latter, with a Yang Jichu seal, rather than a Qianlong mark, from the Mr. and Mrs. Gerard Hawthorn Collection was sold at Bonhams, Hong Kong, 28 November 2011, lot 208. Yixing brush pots with slip-painted landscape decoration on a dark ground and bearing the seal of Yang Jichu are preserved in the collections of both the Suzhou Museum and the Yangzhou Museum illustrated in Zhongguo taoci quanji -23 -Yixing, Tokyo and Shanghai, nos. 24 and 70, respectively. A brush pot decorated with pavilions and trees on a dark ground, illustrated in Yangxian Shaqi Jingpin Tupu, Taipei, 1985, pl. 40, also bears a Yang Jichu mark, while a brush pot of this type painted with flowers and rocks, with a Yang Jichu mark, formerly in the Wellington Wang Collection, was sold at China Guardian, Beijing, 21 November 2010, lot 2167.
One difference from the hand scroll layout is that the artist's seal appears not on the 'painting' itself, but on the base of the vessel. The name of the artist is Yang Jichu, who is recorded in Chongkan jingxi xianzhi (The Republished Jingxi Gazetteer) compiled by Tang Zhongmian during the Qing dynasty. Yang is noted as being active during the same period as Chen Hanwen, mid 17th-early 18th century. Like Chen Hanwen, Yang Jichu is famous for his work on Yixing wares, especially those, like the current brush pot, which are painted in colored slips.
Several slip-painted brush pots decorated in a similar painterly style with landscapes are preserved in the Palace Museum, Beijing, and are illustrated in The Complete Collection of Treasures of the Palace Museum - Purple Sandy Ware, Beijing, 2008, pp. 141-8. Two of these Palace Museum examples bear the seal of Yang Jichu - one of them (no. 116) has a beige body (Fig. 1), similar to that of the current example, while the other (no. 115) is made from dark brown clay. Both are dated to the Qianlong period, as is another stylistically similar example without a seal mark, which is also in the collection of the Palace Museum (illustrated ibid., no. 114). Interestingly, the Beijing Palace Museum also has a brush pot painted in similar style with a scholar seated in a thatch-roofed pavilion overlooking a lake beside a willow tree which bears a Qianlong mark, illustrated ibid., no. 113. (Fig. 2) A brush pot almost identical to the latter, with a Yang Jichu seal, rather than a Qianlong mark, from the Mr. and Mrs. Gerard Hawthorn Collection was sold at Bonhams, Hong Kong, 28 November 2011, lot 208. Yixing brush pots with slip-painted landscape decoration on a dark ground and bearing the seal of Yang Jichu are preserved in the collections of both the Suzhou Museum and the Yangzhou Museum illustrated in Zhongguo taoci quanji -23 -Yixing, Tokyo and Shanghai, nos. 24 and 70, respectively. A brush pot decorated with pavilions and trees on a dark ground, illustrated in Yangxian Shaqi Jingpin Tupu, Taipei, 1985, pl. 40, also bears a Yang Jichu mark, while a brush pot of this type painted with flowers and rocks, with a Yang Jichu mark, formerly in the Wellington Wang Collection, was sold at China Guardian, Beijing, 21 November 2010, lot 2167.