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拍品專文
The closest comparison to the present lot, especially in terms of its size and decoration, is the bowl formerly in the collection of H. M. Knight, now in the Tianminlou Collection, illustrated in Chinese Porcelain, The S. C. Ko Tianminlou Collection, Vol. 1, Hong Kong Museum of Art, 1987, no. 101.
This bowl stands out as exceptionally rare for two reasons: its remarkable size and its intricate design and color palette. While smaller bowls with white and black crane motifs on a yellow ground, similar to this one, exist, none match the vibrant emblems adorning the present piece, such as the one in the Palace Museum, Beijing, illustrated in Kangxi Yongzheng Qianlong, Hong Kong, 1989, p. 237, pl. 66; one in the Baur Collection, illustrated by J. Ayers, Chinese Ceramics in the Baur Collection, vol. 2, 1999, pl. 204 [A542]; and another from the Warre Collection, illustrated by R. Hobson, The Later Ceramic Wares of China, pl. LIX, fig. 3.
In addition to the usual green, yellow and black colour combination found on smaller bowls of this pattern, this bowl is also decorated with red, blue, turquoise and pink enamels which are used with spectacular results. Geng Baochang records in 'Ming Qing ciqi jianding (The Authentication of Ming and Qing Porcelain)', Zhonghua wenwu zhishi congshu, Hong Kong, 1984, that according to the imperial archives, this type of vessel with designs in red, blue, white, green, aubergine and black enamels on yellow ground is referred as a 'new category of wucai', an innovation of the Yongzheng period.
The motifs on this bowl, featuring Shou symbols, cranes, and Daoist emblems, carry significant auspicious meaning, symbolizing longevity. It's likely that this bowl was specially commissioned for a birthday celebration. These motifs gained popularity during the late Ming dynasty, particularly in official wares from the Jiajing period, reflecting the emperor's Daoist beliefs and fascination with longevity and immortality.
See a closely-related example first sold at Sotheby's Hong Kong, 3 May 1994, lot 233, then sold again at Christie's Hong Kong, 7 July 2003, lot 578 (HKD 1,855,750).
This bowl stands out as exceptionally rare for two reasons: its remarkable size and its intricate design and color palette. While smaller bowls with white and black crane motifs on a yellow ground, similar to this one, exist, none match the vibrant emblems adorning the present piece, such as the one in the Palace Museum, Beijing, illustrated in Kangxi Yongzheng Qianlong, Hong Kong, 1989, p. 237, pl. 66; one in the Baur Collection, illustrated by J. Ayers, Chinese Ceramics in the Baur Collection, vol. 2, 1999, pl. 204 [A542]; and another from the Warre Collection, illustrated by R. Hobson, The Later Ceramic Wares of China, pl. LIX, fig. 3.
In addition to the usual green, yellow and black colour combination found on smaller bowls of this pattern, this bowl is also decorated with red, blue, turquoise and pink enamels which are used with spectacular results. Geng Baochang records in 'Ming Qing ciqi jianding (The Authentication of Ming and Qing Porcelain)', Zhonghua wenwu zhishi congshu, Hong Kong, 1984, that according to the imperial archives, this type of vessel with designs in red, blue, white, green, aubergine and black enamels on yellow ground is referred as a 'new category of wucai', an innovation of the Yongzheng period.
The motifs on this bowl, featuring Shou symbols, cranes, and Daoist emblems, carry significant auspicious meaning, symbolizing longevity. It's likely that this bowl was specially commissioned for a birthday celebration. These motifs gained popularity during the late Ming dynasty, particularly in official wares from the Jiajing period, reflecting the emperor's Daoist beliefs and fascination with longevity and immortality.
See a closely-related example first sold at Sotheby's Hong Kong, 3 May 1994, lot 233, then sold again at Christie's Hong Kong, 7 July 2003, lot 578 (HKD 1,855,750).