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Lot Essay
This well-proportioned meiping is rare among Jizhou wares, for being fully decorated with ruyi patterns in the style of tixi lacquer. This effect was achieved by painting the ruyi patterns in buff colour on top of the unfired black glaze.
Three comparable tixi-decorated Jizhou meiping are published: one with similar decoration but of a truncated form was excavated from a Southern Song tomb in Zhangshu city, Jiangxi province, illustrated in the Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), Beijing, 2008, vol. 14: Jiangxi, p. 86; a related meiping in the Tokyo National Museum is published in the Oriental Ceramics: the World’s Great Collections, vol. 1: Tokyo National Museum, Tokyo, 1982, monochrome plates, no. 95; and another meiping of similar form and decoration was sold at Sotheby’s New York, 16 September 2014, lot 103. The present vase has the most desirable golden opalescent quality of the design contrasts very effectively with the dense, dark brown glaze beneath. For a lacquer prototype, see Nezu Museum, The Colors and Forms of Song and Yuan China: Featuring Lacquerwares, Ceramics, and Metalwares, Tokyo, 2004, Catalogue, no. 44.
This design is also seen in Southern Song silver ware such as the one from the Sichuan Provincial Museum, illustrated in Zhongguo jinyin boli falangqi quanji (Compendium of Chinese Silver, Glass, and Lacquer Wares), Hebei, 2004, vol. 2, p, 168, no. 300.
Three comparable tixi-decorated Jizhou meiping are published: one with similar decoration but of a truncated form was excavated from a Southern Song tomb in Zhangshu city, Jiangxi province, illustrated in the Zhongguo chutu ciqi quanji (Complete Collection of Ceramic Art Unearthed in China), Beijing, 2008, vol. 14: Jiangxi, p. 86; a related meiping in the Tokyo National Museum is published in the Oriental Ceramics: the World’s Great Collections, vol. 1: Tokyo National Museum, Tokyo, 1982, monochrome plates, no. 95; and another meiping of similar form and decoration was sold at Sotheby’s New York, 16 September 2014, lot 103. The present vase has the most desirable golden opalescent quality of the design contrasts very effectively with the dense, dark brown glaze beneath. For a lacquer prototype, see Nezu Museum, The Colors and Forms of Song and Yuan China: Featuring Lacquerwares, Ceramics, and Metalwares, Tokyo, 2004, Catalogue, no. 44.
This design is also seen in Southern Song silver ware such as the one from the Sichuan Provincial Museum, illustrated in Zhongguo jinyin boli falangqi quanji (Compendium of Chinese Silver, Glass, and Lacquer Wares), Hebei, 2004, vol. 2, p, 168, no. 300.