- Provenance information is currently unavailable
- Previous Owner(s)
Edward T. Chow 1910 - 1980
Mathias Komor 1909 - 1984
Improvements in porcelain production, including in the removal of impurities from clay, led to a new desire in the Yongle reign to create spacious designs that showcased the snowy brilliance of the porcelain itself. The imagery here is standard of the Yongle period, including the motifs' display of natural color variations in the blue that result from mineral inclusions in the cobalt imported from Iran. During firing, silvery-black-purple crystalline spots were often produced, a separation of colors known as the "heaped and piled" effect.
The fluidly painted lotus flowers, buds, large leaves, and grain stalks display a sensitive observation of nature that was new in Yongle-period porcelain decoration. The combination of lotus and grain stalks was probably understood as a visual pun, or rebus, reading "Peace year after year"--an especially good motto for the Yongle emperor, who had usurped the throne and needed to establish stability at the court.
- Published References
- Ming Porcelains in the Freer Gallery of Art. Washington, 1953. p. 12, fig. 2.
- Mayuyama Junkichi. Obei shuzo chugoku toji zuroku (Chinese Ceramics in the West). Tokyo. pl. 90.
- Mayuyama Junkichi H. Igaki. Chinese Ceramics in the Freer Gallery of Art. no. 43, October 1956. pl. 3.
- Sekai toji zenshu (Catalogue of the World's Ceramics). 16 vols, Tokyo, 1955-1958. p. 197, fig. 70.
- Oriental Ceramics (Toyo Toji Taikan): The World's Great Collections. 12 vols., Tokyo. pl. 92.
- Collection Area(s)
- Chinese Art
- Web Resources
- Google Cultural Institute
- Rights Statement
Copyright with museum