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Lot Essay
QUEST FOR IMITATION AND INNOVATION OF THE EARLY QING
ROSEMARY SCOTT - INTERNATIONAL ACADEMIC DIRECTOR, ASIAN ART
Several bowls of this shape and size and with the same unusual combination of enamel colours and similar decoration have been published. Four are in public collections: one, illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 265, no. 9:114; the Victoria and Albert Museum, illustrated by W.B. Honey, The Ceramic Art of China and Other Countries of the Far East, London, 1945, pl. 113(a); the Shanghai Museum, illustrated by Xia and Feng, Zhongguo meishu quanji; gongyi meishu bian - 3 - taoci xia, Shanghai, 1991, no. 120; and the Itsuo Art Museum, illustrated by Yajima, Overglaze Enamel Ware in the Ming Dynasty, Japan, 1996, no. 32.
Other examples in private collections include one in the collection of C.P. Lin, illustrated in the exhibition catalogue, Elegant Form and Harmonious Decoration, Percival David Foundation of Chinese Art, London, 10 June - 10 September 1992, no. 81; one included in the Exhibition of Chinese Art, Venice, 1954, p. 192, no. 711 and later published by J. Ayers, Chinese Ceramics: The Koger Collection, London, 1985, no. 84; and one illustrated by J. Wirgin, Chinese Ceramics from the Axel and Nora Lundgren Collection, 1989, no. 59. Another is illustrated in Chinese Porcelain: The S.C. Tianminlou Collection, Hong Kong, 1987, Part I, p. 118, no. 70, where it is noted that square bowls of this type were popular during the Jiajing period and were decorated with other designs and colour schemes, but their popularity declined after the Wanli period.
ROSEMARY SCOTT - INTERNATIONAL ACADEMIC DIRECTOR, ASIAN ART
Several bowls of this shape and size and with the same unusual combination of enamel colours and similar decoration have been published. Four are in public collections: one, illustrated by J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 265, no. 9:114; the Victoria and Albert Museum, illustrated by W.B. Honey, The Ceramic Art of China and Other Countries of the Far East, London, 1945, pl. 113(a); the Shanghai Museum, illustrated by Xia and Feng, Zhongguo meishu quanji; gongyi meishu bian - 3 - taoci xia, Shanghai, 1991, no. 120; and the Itsuo Art Museum, illustrated by Yajima, Overglaze Enamel Ware in the Ming Dynasty, Japan, 1996, no. 32.
Other examples in private collections include one in the collection of C.P. Lin, illustrated in the exhibition catalogue, Elegant Form and Harmonious Decoration, Percival David Foundation of Chinese Art, London, 10 June - 10 September 1992, no. 81; one included in the Exhibition of Chinese Art, Venice, 1954, p. 192, no. 711 and later published by J. Ayers, Chinese Ceramics: The Koger Collection, London, 1985, no. 84; and one illustrated by J. Wirgin, Chinese Ceramics from the Axel and Nora Lundgren Collection, 1989, no. 59. Another is illustrated in Chinese Porcelain: The S.C. Tianminlou Collection, Hong Kong, 1987, Part I, p. 118, no. 70, where it is noted that square bowls of this type were popular during the Jiajing period and were decorated with other designs and colour schemes, but their popularity declined after the Wanli period.