A VERY RARE BLUE AND WHITE REVERSE-DECORATED STEM CUP
A VERY RARE BLUE AND WHITE REVERSE-DECORATED STEM CUP
A VERY RARE BLUE AND WHITE REVERSE-DECORATED STEM CUP
2 更多
A VERY RARE BLUE AND WHITE REVERSE-DECORATED STEM CUP
5 更多
明萬曆 青花海獸紋高足盃 雙圈六字楷書款

WANLI SIX-CHARACTER MARK IN UNDERGLAZE BLUE WITHIN A DOUBLE CIRCLE AND OF THE PERIOD (1573-1620)

細節
明萬曆 青花海獸紋高足盃 雙圈六字楷書款3 ¼ in. (8.2 cm.) diam., silk pouch, cloth box
來源
爵位家族, 日本
日本私人珍藏
香港佳士得, 2013年5月29日, 拍品編號2247
馬錢特, 倫敦
出版
馬錢特, 《Chinese Ceramics Tang to Qing》, 倫敦, 頁36-7, 編號18
展覽
倫敦, 馬錢特,「Chinese Ceramics Tang to Qing」, 2014年5月6-30日

榮譽呈獻

Margaret Gristina (葛曼琪)
Margaret Gristina (葛曼琪) Senior Specialist, VP

拍品專文


The present stem cup belongs to a very rare group produced in the Wanli period and is closely based on earlier Xuande-period (1426-35) prototypes. A Xuande mark-and-period example in the National Palace Museum, Taipei, is illustrated by Chiang Fu-tsung in The Special Exhibition of Hsuan-te Porcelain, Taipei, no. 70. (Fig. 1)

It appears that the only other known published stem cup of this design, with lança characters on the interior and with a Wanli mark, is in the National Palace Museum, Taipei, and is illustrated in Ming Ci Ming Pin Tu Lu, Jiajing, Longqing, Wanli, The Catalogue of Famous Ming Porcelain from Japan and Taiwan, 1978, no. 82, and again by Liu Liang-yu in Ming Official Wares, Taipei, 1991, p. 281. (Fig. 2) A related Wanli-period example, but bearing a Xuande mark, from the Percival David Foundation, now in the British Museum, London, is illustrated by M. Medley in Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains, London, 1976, p. 73, no. C601.

The decoration of 'sea creatures' is discussed by Rosemary Scott in the introduction to this catalogue, where their relationship to Tibetan Buddhism is explained. A larger (8.2 cm. diam.) stem bowl, Xuande mark and period, with a related design of the nine ‘sea creatures’ on a blue wave ground in the British Musuem, London, is illustrated by J. Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, p. 128, no. 4:13, where the author also discusses the relationship between these motifs and Tibetan Buddhism.

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