.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
The Yongle Emperor (r. 1403–1425) (Fig. 1) is renowned for the exceptional quality of the decorative arts produced for his court. Among these, blue-and-white porcelain stands out as one of the most celebrated artistic achievements of the period. The present dish exemplifies the highest standards of craftsmanship achieved during the Yongle reign. Dishes of this type were produced in a range of sizes and designs, featuring rounded wells, everted rims, and barbed edges, as well as various floral decorations. For an in-depth discussion of the technical and aesthetic developments of Yongle porcelains, see J. Harrison-Hall, Catalogue of Late Yuan and Ming Ceramics in the British Museum, London, chapter 3, pp. 93-97. This type of porcelain was not only prized by the imperial court but also highly sought after in international markets, including India and the Middle East. A number of examples can be found in collections in Istanbul and Tehran, attesting to their popularity as exports. Local imitations in earthenware further demonstrate the significant cultural impact of these porcelains. Notably, a similarly decorated Yongle dish, inscribed in Farsi around the foot rim with the name of Shah Jahan, the fifth Mughal emperor, is illustrated by P. Hardie in “China’s Trade with India,” Transactions of the Oriental Ceramic Society 1983–1984, p. 19, pls. 3 and 4. This example further highlights the widespread admiration for Yongle blue-and-white porcelain in other Asian empires.
The present dish is particularly remarkable for its exceptionally rare decorative scheme: a continuous vine motif encircling the everted rim, rather than the more commonly seen cresting wave design. This elegantly rendered border incorporates lingzhi heads within the vine. Lingzhi, a type of fungus esteemed in Chinese medicine for its life-extending properties, holds deep symbolic significance in Chinese art. Its shape resembles a ruyi scepter, associated with the auspicious meaning, “May your wishes come true.” The dish’s central chrysanthemum motif further enhances its symbolism, as chrysanthemums are linked to longevity and health. Adding to the richness of the design, the peonies decorated on the well of the dish—known in Chinese as fuguihua (“flower of wealth and honor”)—have long been associated with royalty, as they were cultivated in imperial gardens. Peonies have since become enduring symbols of wealth and honor. Together, these motifs form a harmonious expression of auspicious wishes for longevity, prosperity, and the fulfillment of personal aspirations.
A dish with the same design as the present lot, of slightly smaller size, is in the Topkapi Saray, Istanbul, and is illustrated in J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, Yuan and Ming Dynasty Porcelain, London, 1986, p. 512, no. 600. Another of slightly smaller size (37.8 cm.) is in The Metropolitan Museum of Art, New York, illustrated by S. Valenstein in A Handbook of Chinese Ceramics, New York, 1989, p. 150, no. 145 (Fig. 2), and another of slightly larger size (43.2 cm.) from the Ardebil Shrine, now in the Iran Bastan Musuem, is illustrated by T. Misugi in Chinese Porcelain Collections in the Near East: Topkapi and Ardebil, Hong Kong, 1981, p. 119, no. A.35. A related dish of the same size, with a similar decorative scheme and a vine around the rim, was sold at Christie’s New York, 19 March 2009, lot 712. (Fig. 3) An example of the more commonly found version with cresting wave border on the everted rim was sold at Christie’s Hong Kong, 29 May 2007, lot 1451.
The provenance of the present dish is equally distinguished. It was formerly part of the renowned collection of Walter Francis Brown (1930–2014), a prominent collector and philanthropist with a deep appreciation for Asian art. A native of Texas, Brown founded Delray Oil, Inc., and later W. F. Brown Exploration Ltd., both of which played pivotal roles in the exploration and production of oil and gas in Texas and Western Canada. Brown’s passion for Chinese art began in the early 1970s after attending an auction at Christie’s New York. This initial exposure ignited a lifelong dedication to studying and collecting Asian art, with a particular focus on the refined aesthetics of Song ceramics and the grandeur of Ming and Qing porcelains.
Over four decades, Brown amassed a significant collection of Chinese and Japanese art, sourcing works from auctions and dealers worldwide. His philanthropic vision, shared with his wife, Lenora, culminated in the establishment of the Asian collection at the San Antonio Museum of Art in Texas, creating an encyclopedic resource for the appreciation of Asian art. Brown’s friendships with major collectors, dealers, and museum professionals further enriched his contributions to the field. His passing in 2014 has left a void in the listing of long time, traditional Asian art collectors in America.
The present dish is particularly remarkable for its exceptionally rare decorative scheme: a continuous vine motif encircling the everted rim, rather than the more commonly seen cresting wave design. This elegantly rendered border incorporates lingzhi heads within the vine. Lingzhi, a type of fungus esteemed in Chinese medicine for its life-extending properties, holds deep symbolic significance in Chinese art. Its shape resembles a ruyi scepter, associated with the auspicious meaning, “May your wishes come true.” The dish’s central chrysanthemum motif further enhances its symbolism, as chrysanthemums are linked to longevity and health. Adding to the richness of the design, the peonies decorated on the well of the dish—known in Chinese as fuguihua (“flower of wealth and honor”)—have long been associated with royalty, as they were cultivated in imperial gardens. Peonies have since become enduring symbols of wealth and honor. Together, these motifs form a harmonious expression of auspicious wishes for longevity, prosperity, and the fulfillment of personal aspirations.
A dish with the same design as the present lot, of slightly smaller size, is in the Topkapi Saray, Istanbul, and is illustrated in J. Ayers and R. Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, Yuan and Ming Dynasty Porcelain, London, 1986, p. 512, no. 600. Another of slightly smaller size (37.8 cm.) is in The Metropolitan Museum of Art, New York, illustrated by S. Valenstein in A Handbook of Chinese Ceramics, New York, 1989, p. 150, no. 145 (Fig. 2), and another of slightly larger size (43.2 cm.) from the Ardebil Shrine, now in the Iran Bastan Musuem, is illustrated by T. Misugi in Chinese Porcelain Collections in the Near East: Topkapi and Ardebil, Hong Kong, 1981, p. 119, no. A.35. A related dish of the same size, with a similar decorative scheme and a vine around the rim, was sold at Christie’s New York, 19 March 2009, lot 712. (Fig. 3) An example of the more commonly found version with cresting wave border on the everted rim was sold at Christie’s Hong Kong, 29 May 2007, lot 1451.
The provenance of the present dish is equally distinguished. It was formerly part of the renowned collection of Walter Francis Brown (1930–2014), a prominent collector and philanthropist with a deep appreciation for Asian art. A native of Texas, Brown founded Delray Oil, Inc., and later W. F. Brown Exploration Ltd., both of which played pivotal roles in the exploration and production of oil and gas in Texas and Western Canada. Brown’s passion for Chinese art began in the early 1970s after attending an auction at Christie’s New York. This initial exposure ignited a lifelong dedication to studying and collecting Asian art, with a particular focus on the refined aesthetics of Song ceramics and the grandeur of Ming and Qing porcelains.
Over four decades, Brown amassed a significant collection of Chinese and Japanese art, sourcing works from auctions and dealers worldwide. His philanthropic vision, shared with his wife, Lenora, culminated in the establishment of the Asian collection at the San Antonio Museum of Art in Texas, creating an encyclopedic resource for the appreciation of Asian art. Brown’s friendships with major collectors, dealers, and museum professionals further enriched his contributions to the field. His passing in 2014 has left a void in the listing of long time, traditional Asian art collectors in America.