C.P. Lin, Hong Kong, to 1997
Arthur M. Sackler Gallery, given by C.P. Lin in 1997
- Previous Owner(s)
The lyrical landscape painting on this vase epitomizes a period of dramatic innovation in porcelain decoration. For much of the seventeenth century, the best ceramics made at Jingdezhen, China's "porcelain capital," located in Jiangxi Province, were produced for the literati class, who, in a situation without parallel, replaced the court as the major patrons of high-quality porcelains. Imperial commissions ceased in 1620 with the death of the Wanli emperor and the imminent decline of the Ming dynasty (1368-1644). They did not resume until 1683, when the imperial kilns recommenced operation in the Qing dynasty (1644-1911). During this long interregnum, the literati asserted a preference for more lively and painterly styles of porcelain decoration than the emperors favored. The scene that wraps around the Sackler's vase like an unrolled handscroll represents the new taste. When rotated, the vase reveals a combination of painting, poetry, and calling-raphy-the so-called Three Perfection-whose unity in a single composition was regarded as the highest ideal in literati art.
Label copy: (adapted from essay in Beyond the Legacy 1998)
- Published References
- Thomas Lawton Thomas W. Lentz. Beyond the Legacy: Anniversary Acquisitions for the Freer Gallery of Art and the Arthur M. Sackler Gallery. vol. 1 Washington, 1998. pp. 242-243.
- Louise Allison Cort, Jan Stuart, Laurence Chi-Sing Tam. Joined Colors: Decoration and Meaning in Chinese Porcelain : Ceramics from Collectors in the Min Chiu Society, Hong Kong. Exh. cat. Washington and Hong Kong, 1993. cat. 76, p. 151.
- Collection Area(s)
- Chinese Art
- Web Resources
- Google Cultural Institute
- Rights Statement
Copyright with museum