•’n•`‹àEŽOÊE‰Ô™Á•¶E‹¤ŠWšâ

üK’ê•`‹àEŽOÊE‰Ô™Á纹E‹¤á³

Jar with cover decorated with flower design in gold and susancai enamels on black ground

”N‘ãF´’©@Nà†’é

Qing dynasty, Kangxi period, AD 1662-1722

‚‚³@83.0cm@~@Å‘åŒa@44.0cm

‚@@@@@@Å‘å’¼Œa

Height 83.0cm; maximum diameter 44.0cm

25%ÌÞׯ¸Î°¿Ý2

      ’FŠíŒ`‚̎ʐ^‚Í‚â‚âŽÎ‚ß‚©‚çŽB‚Á‚Ä‚¢‚邽‚߁A“·•”‚©‚ç’ê•”‚É‚©‚¯‚ď­‚µi‚荞‚Ü‚ê‚Ä‚¢‚é‚悤‚ÉŒ©‚¦‚éB

’Fˆö为Ší•¨“IÆ•Ð”摄“I时Œóâc—L倾ŽÎCˆöŸŠí•¨“I‹ëŠ±•”•ª“ž’ê•”ŠÅ‹N—ˆ”ä实•¨âc”÷变¬—¹ˆê±B

Note: Since the picture is taken from an angle, it appears that the porcelain is narrowed down a bit from the body to the bottom.

 

25‚Ì50%ÌÞׯ¸Î°¿Ý‚ÌŒ¢ “ª•”EŽ‚Žq

头•”E狮Žq

Head: Lion

@•ò“V}Œo

•ò“V图经

The Fengtian Illustrated Text

25‚Ì80%•ò“V}Œo‡V]40@

 

[•ò“V}Œo‚ɏ‘‚©‚ê‚Ä‚¢‚éà–¾•¶]@@@@@@@      ŽÊÝs•ò“V图经tã“I说–¾•¶

ƒJƒŒƒn•’nƒmƒ‚ƒmƒm—áƒfƒn@Å‚‹‰•i              ÝüK’ꕶ•¨“–’†¥Å‚“I

ƒmˆí•iƒfƒAƒ‹Bˆê“_ƒVƒJƒiƒqB‘¼ƒjƒ‚ƒiƒqƒfƒAƒ‰ƒtB   ‘ü—Lˆê˜¢B‘åŠTÄ–ç–v—L“I—¹B

“°Xƒ^ƒ‹@—ǃqƒ‚ƒmB                            ¥¯“ID¼B

 

šâŠW•t                            @@@@@@@ •—Lá³

•’nƒj‹àæEƒ’Žgƒq                              ÝüK’êãŽg—p‹à

—m‰Ôƒ’•`ƒqƒ^ƒ‚ƒm@Ô—΃iƒh             @@@@@@ •`—¹—m‰Ô —LFA绿F“™“™

”ŽíƒmF                            @@@@@@ ”种颜F

Nà†                                @@@@@@Nê¤

´                                  @@@@@@´‘ã

 

[Description in the Fengtian Illustrated Text]

This is the best grade piece of black-glazed porcelains. There are no other similar porcelains like this one here and, probably, anywhere else. A magnificent piece it is.

 

A jar with lid.

Decorated gilt on black-glazed ground.

With Western flowers painted in red, green and other colors.

Kangxi period.

Qing dynasty.

 

 

y´’©Šú‚ÌŠ¼–¼z

y´’©Šú“IŠ¼–¼z

yReign mark of the Qing dynastyz

 

NꤔNŠÔ

Kangxi Period (AD 1662-1722)

1673”NiNà†12”Nj@ŽO”Ë‚Ì—‚ª‹N‚±‚èAŒäŠí±‚ª‰ó–Å‚³‚ê‚éB“à­‚ª‚Ü‚¾ˆÀ’肵‚Ä‚¢‚È

‚¢B

ˆö为—L—¹ŽO”Ë”V—CŒäŠí™Ê–ç”í毁š­—¹B“à­®•sˆÀ’èB

1673 (12th year of the Kangxi reign)

                 The Revolt of the Three Feudatories occurred and the imperial porcelain kilns were destroyed. Domestic politics in China was unstable yet.

1677”NiNà†16”Nj —W—߁@’£Ä’‡‚ÌŒš‹c‚É‚æ‚è”NŠ¼iŽå‚Ɋ함‚Ì’ê•”‚ɐõ•t‚Ȃǂŏ‘

‚©‚ꂽ”N‘ã–Áj‚ð‘‚­‚±‚Æ‚ð‹Ö‚¶‚éBi1991”NŠ§@•ÒWŽÒ@’†‘Œ]Ž_‰–Šw‰ï@“ú–{Œê”Ł@’†‘“©Ž¥’ÊŽjF•Å374j

ª˜县—ß张齐’‡“IŒš议‹ÖŽ~书ŽÊ”NŠ¼iŽå—v¥ÝŠí•¨“I’ê•”õ

ŽÊã“I”N‘ã铭jB(1991”NŠ§C’†‘áéŽ_盐Šw‰ïŽå编C“ú语”ŁC’†‘“©áI’ÊŽjC‘æ374)

1677 (16th year of the Kangxi reign)

                              At the proposal of the Local Governor Zhang Qizhong, it was prohibited to paint the reign mark which was painted mainly on the base of porcelain by means of underglazing cobalt blue or other method. (at p.374, Chinese Ceramic History, Japanese-edition, edited by the Chinese Ceramic Society and published in 1991)

1680”NiNà†19”Nj@9ŒŽAŒäŠí‚̏đ¢‚ª–½—ß‚³‚ê‚éBiŒäŠí±‚ÌŠJÝj

9ŒŽC‰º—ß开Žn烧§ŒäŠíiŒäŠí™Ê开设jB

1680 (19th year of the Kangxi reign)

                              In September, it was ordered to resume the manufacture of porcelains for the imperial court.@iThe imperial porcelain kilns were re-established.j

1703”NiNà†44”Nj@˜Y’ì‹É‚ª“‘¢‚µ‚½˜Y—q‚ªé“¿‚̍gçւðÄŒ»‚µ•]”»‚Æ‚È‚éB‘¼‚É‚à

‚àé“¿Â‰Ô‚Å‚à–Í•í‚ɐ¬Œ÷‚·‚éB˜Y—q‚É‚ÍŠ¼–¼‚Í–³‚¢B”NŠ¼‹Ö

Ž~—ß‚ª–¢‚¾‰ðœ‚³‚ê‚Ä‚¢‚È‚¢B

Ý˜Y’ì极“I“‘¢‰º˜Y窑Ä现—¹éúº”N间“I红çցC备ŽóD评B另

ŠOCéúº“IÂ‰Ô–ç仿§¬Œ÷B˜Y窑–v—LŠ¼–¼B”NŠ¼‹ÖŽ~“I–½—ß

ŽŠ¡®–¢“¾“ž‰ðœB

1703 (44th year of the Kangxi reign)

The imperial porcelain kilns supervised by Lang Tingchi succeeded in reproducing the red-glazed porcelains that had been made in the Xuande period (1426-1435), which created a sensation in China.  In addition, the Lan-ware kilns also succeeded in reproducing the blue-glazed porcelains made in the Xuande period. There were no reign marks on the porcelains fired at the Lan-ware kilns.  The order to ban to carry imperial reign marks on porcelains was not yet lifted.

1713”NiNà†52”Nj@Nà†’é60Î‚Ì’a¶“ú‚ð‹L”O‚µ‚Č܍ʉʎ÷’¹•¶”Ձi‘吴Nà†”N»

–Áj‚âŒÜÊ˜@’r…‹×•¶”Ձi‘吴Nà†”N»–Áj‚È‚Ç‚ªÄ¬‚³‚ê‚éB

‚±‚̍ ‚©‚ç”NŠ¼‚ð“ü‚ê‚邱‚Æ‚ª‹–‚³‚ê‚é‚悤‚É‚È‚Á‚½BàéàåÊ‚È‚Ç‚ÌŒ†ì‚ª»ì‚³‚ꂽB

为—¹纪”ONꤒé60岁Žõ’CŽ§烧§“IŒÜÊ‰Ê树鸟纹盘i‘吴Nê¤

”N间§铭j˜aŒÜÊ莲’r…‹×纹盘i‘吴NꤔN间§铭j”V类B

Ý这˜¢时Œó›ß经‰ÂˆÈ‰Á“ü”NŠ¼—¹B还§ì—¹珐àäÊ“™ž^ìB

1713 (52nd year of the Kangxi reign)

                   In cerebration of 60-year birthday of the Kangxi emperor, Dish, known as gBirthday plateh, Decorated with Bird and Fruit Tree Design in Famille Verte Enamels (with the Kangxi reign mark and period), Dish Decorated with Waterfowls in a Lotus Pond Design in Famille Verte Enamels and Underglaze Blue (with the Kangxi reign mark and period) and other wares were fired at the imperial kilns. From around these days, imperial reign marks began to be permitted to write and masterpieces of falangcai (珐àäÊ) vessels as well as other types of porcelains were also manufactured.

 

贐³”NŠÔ

”NŠ¼‹L–¼‚ɂ‚¢‚ẮA贐³‚ÌŒäŠí±‚Å‚àA‰‚ß‚ÍŠ¼–Á‚ð—p‚¢‚邱‚Æ‚ð‹Ö‚¶‚½i‰Á“¡“‚‹ã

˜YwŒ´F“©Ší‘厫“Tx•Å985jB

贐³”N间

关˜°”NŠ¼记–¼•û–ʁCÝˆê开Žn“I时ŒóC贐³“IŒäŠí™Ê–琥‹ÖŽ~Žg—pŠ¼铭“IBi‰Á“¡“‚

‹ã˜YŒ´F“©Ší‘厫“TC985jB

Yongzheng Period (AD 1723-1735)

Regarding imperial reign marks, at the imperial kilns of the Yongzheng emperor, it was also forbidden to use them in the beginning of his rule.@iat p.985,Colored Ceramic Dictionary, written by Tohkuro Katoj

 

Š£—²”NŠÔ

w•ò“Vš¤ãSxi•i”Ô‚Q‚Q‚Vj‚́w•’nE‘fŽOÊE‰Ô’¹•¶E‹¤ŠWšâx‚́AgŠ£—²h ‚Æ–¾‹L‚³‚ê‚Ä‚¢‚é

‚ªAšâ‚ÌŽÀó‚Í–³Š¼‚Å‚ ‚éB

Š£—²”N间

Ý•ò“V图经—¢–Ê记载“IgüK’nE‘fŽOÊE‰Ô鸟纹E‹¤á³壶h虽‘R–¾记’…gŠ£—²hC’A–ç

ÙŠ¼“IB

Qianlong Period(AD 1736-1795)

The ware gJar with Cover Decorated with Flower Design in Gold and Susancai Enamels on Black Groundh described in the Fengtian Illustrated Text says clearly that it was made in the gQianlongh period; however, it does not carry imperial reign mark and period with it.

 

–³Š¼‚Ì——R‚́ANà†‚Ì‰Šú‚ɂ‚¢‚ẮA“à­‚Ì•sˆÀ‚Æ–¾‘ã––‚©‚çˆâ‚éŒi“¿’Á‚Ì•…”s‚µ‚½ŠµK(“©Ž¥Ší‚𔄔ƒ‚·‚éÛ‚Ì“s‡‚É‚æ‚è”NŠ¼‚ð‹L‚µA‘e»—”‘¢‚È‚Ç)‚É‚æ‚é‚à‚̂Ƃ̐à‚àŒi“¿’Á‚Ì•…”s‚¾‚¯‚Ì——R‚Æ‚Í’f’èo—ˆ‚È‚¢B贐³AŠ£—²‚̏‰Šú‚͍c’é‚ÌŒð‘㎞Šú‚É‚æ‚鍬—‚É‚æ‚é‚à‚Ì‚È‚Ç‚ª‚¢‚í‚ê‚邪A’è‚©‚Å‚Í‚È‚¢B

Ž–ŽÀ‚́A•ò“V‚ɔ铽‚µ‚Ä‚¢‚½‚à‚̂ɐ”‘½‚­A–³Š¼‚Ì‚à‚Ì‚ª‘¶Ý‚·‚邱‚Æ‚Å‚ ‚éB

ÙŠ¼“I——R¥C—Lˆê种说–@¥Nꤏ‰Šú时Cˆö为“à­•sˆÀˆÈ‹y–¾‘ã––Šú开Žn“IŒi

úº镇•…败i为—¹买卖•û•ÖŽ§ˆÓ—Ž”NŠ¼C‘e§滥‘¢jB’A¥˜¸颁•z”NŠ¼‹ÖŽ~—ß“I1677

”N开Žn“ž”í认为‰ðœ‹ÖŽ~—ß“I1713”N¶‰E为Ž~“I36”N间—ˆŠÅC¥Ù–@’f’è仅仅¥ˆö

为Œiúº镇•…败这˜¢——R“IBŽŠ˜°è´³AŠ£—²‰Šúˆö为c’éŒð‘ÖŽ§产¶¬—这ˆê说–@–ç

–v—L’è论B

Ž–实ãCåU“½Ý•ò“V“I东¼“–’†Cœk‘½“s¥–v—L铭Š¼“IB

It is said that the reason why it has no imperial reign mark and period is due to the political turmoil in China at that time and such corrupted habits at the Jingdezhen kilns as inscribing imperial reign marks discretionally for the conveniences of trades of porcelains, or overproduction of inferior goods and so forth.  However, it cannot conclude that the corruption at the Jingdezhen kilns is the only reason for the lack of reign mark because there was 36-year period from 1677, when the ban of the imperial reign marks began, to 1713 when the order is believed to have been abolished.  It is also said that in the early period of Yongzheng and Qianlong emperors there were political disorders caused by the change of the emperors which explains the reason for no reign mark on the jar vessel.  Although it is uncertain what the real reason for no reign mark was, the reality is that many of wares having no reign marks were found from the ceramics secretly hidden in Fengtian.

 

y–{•i‚̉ðàz

–{•i‚ÍŒäŠí±‚ªŠJÝ‚³‚ꂽ1680”NiNà†19”Nj‰Šú‚Ì‚à‚̂ƍl‚¦‚ç‚ê‚éB1681”NiN

à†20”NjŽO”Ë‚Ì—‚ªŽû‘©‚³‚ê‚Ä“à­‚à—Ž‚¿’…‚«Žn‚߁ANꤒé‚͐¼—m•¶‰»‚ÌŽæ‚è“ü‚ê‚É”MS‚Æ‚È‚Á‚½B¼—m•¶‰»‚ðD‚ñ‚¾‚̂́A–¾’©‚ÌŠ¿l•¶‰»‚𑸂тȂª‚ç‚à´’©“ÆŽ©‚Ì•¶‰»‚𗬕z‚µ‚悤‚Æ‚·‚镶‰»­ô‚̈ê–Ê‚Å‚à‚ ‚éB

y–{•i“I‰ð说z

–{•i”í认为¥ŒäŠí™Ê开设‰Šú“I1680”NiNê¤19”Nj“Iì•iB1681”NiNà†20

”NjŽO”Ë”V—”í镇压C“à­–ç开Žn步“ü³轨CNꤒé开Žn热S˜°ˆø进¼—m•¶‰»B”VŠ

ˆÈŠì欢¼—m•¶‰»–ç—LÝ‘¸d汉‘°•¶‰»“I“¯时é扬´’©“ÆŽ©•¶‰»“I•¶‰»­ô•û–Ê“Il

虑B

yDescription of the Jarz

This porcelain is thought to have been made in the early 1680 (19th year of the Kangxi reign) when the imperial porcelain kilns were established.  After the Revolt of the Three Feudatories was suppressed in 1681 (20th year of the Kangxi reign), the domestic politics in China began to get settled gradually and the Kangxi emperor got enthusiastic about importing the Western culture. His preference to the Western culture shows one of the aspects of his cultural policy; he intended to prevail the Qing dynastyfs unique culture throughout China while he respected the Han culture.

 

–{•i‚́AŠG•t‚¯‚̍ו”‚ɂ́AàéàåÊ‚ÉŒ©‚ç‚ê‚é_ŒoŽ¿‚È‚Ù‚Ç‚ÌŠG•t‚¯‚Í‚Ü‚¾‚È‚³‚ê‚Ä‚¢‚È‚¢‚ªAŠíŒ`‚̃tƒHƒ‹ƒ€‚ª—Ç‚­A‰Ô™Á•¶‚Í‹óŠÔ‚ð‚Æ‚è‚È‚ª‚çAƒoƒ‰ƒ“ƒXD‚­”z’u‚³‚ꂽŽÀ‚É“T‰ë‚È‚à‚Ì‚Å‚ ‚éB‘æ“ñŽ_‰»“S‚̐ԐF‚ð‰º’n‚É‚µ‚āA‚»‚̏ã‚ɏƒ—ǂȃRƒoƒ‹ƒg‚ðŽ{çւµAŽ_‰»‰Š‚ŏĂ­‚½‚߁AŒ³—ˆ‚̃Rƒoƒ‹ƒg‚Ì—•F‚ªŒõ‘ò‚̏­‚È‚¢•F‚Æ‚È‚èA‚»‚±‚ɃKƒ‰ƒXçւðõ—¿‚É‚µ‚½‰Ô™Á•¶‚ð•`‚¢‚āA“–Žž‚̃ˆ[ƒƒbƒp‚Ì‹M‘°‚É—¬s‚µ‚½ƒxƒ‹ƒxƒbƒg‚ÉŽhJ‚µ‚½‰Ô•¿‚ð“©Ž¥Ší‚ɍČ»‚µ‚½‚à‚̂ŁA¼—m•¶‰»‚ðÏ‹É“I‚ÉŽæ‚è“ü‚ꂽNà†’é‚̈ӎ¯‚ðŒ»‚µ‚Ä‚¢‚éB

–{•i˜¸绘‰æ“I细节ã—ˆŠÅ还–v—L珐àäÊã‰ÂˆÈŠÅ“ž“I“ß种_经质”Ê“I纤细B’A¥

—eŠí“IŒ`‘Ì”ñí¸—ǁCœkD“I”z’u—¹‰Ô™Á纹’†“I‹ó间•½tC’…实¥ˆêŒ”ñí“T‰ë“Iì

•iB—R氧‰»铁“I红F‘Å’êCÝã–ʈÈ优质“I钴Ž{çցCÄ—p[‘«“I氧Ÿƒ‚‰·”R烧CŽgŒ´

—ˆ钴“I蓝FŒõ泽âcâc变¬üKFB‘R@—pàޗžç֍ì为õ—¿‰æã‰Ô™Á纹B”c“–时Ý‰¢F贵

‘°’†œk—¬s“IÝ“V鹅绒ã绣ã‰Ô纹“IŒ³‘fÝ“©áIŠíãÄ现—¹B‰ÂˆÈŠÅo—ˆNꤒé积极

“Iˆø“ü¼—m•¶‰»“IˆÓ识B

Although this piece has no such delicate painting technique as seen in the falangcai porcelains (also known as famille rose enameled porcelains), it is very elegant because of its beautiful shape and the well positioned flower design with a proper balance.  Meanwhile, in its manufacturing process, the cobalt blue glaze was adopted to its red ground which contained ferric oxide (Fe2O3) pigment and then it was fired by oxidizing flame at high temperature to change the original cobalt blue color into subdued glossy black color.  After this first fire, the flower design was painted with the glass glaze on its glossy black color ground and the porcelain was fired again at low temperature in order to produce just like an embroidered velvet textile with flower design. Such design was very popular among the aristocratic societies in Europe at that time and it shows the thought of the Kangxi emperor who vigorously adopted the Western culture.

 

‹¤ŠW‚ÌŽ‚Žq‚́AŒõ‘ò‚Ì‚ ‚é‹àF‚ðo‚·‚½‚߂ɁA“Á•Ê‚ÉŒú‚­ƒ“x‚̍‚‚¢‹à‚𒅍ʂµ‚Ä‚¢‚éB

‹¤á³“I狮ŽqC为—¹“Ê显o‹àF“IŒõ泽C“Á别—p—¹‚纯“x“I‰©‹à“n—¹ŒúŒúˆê层—ˆ’…

FB

The lion-shaped figure on the lid is covered with very thick gold of a high degree of purity in order to produce the glossy golden color.

 

Ž‚Žq‚ÌŠá‚Ì•`‚«•û‚́A“¤ÂÂ‰ÔŒQ”n•¶•ri‚‚³43.6cmFŠ‘ @”~‘ò‹L”OŠÙA•½–}ŽÐŠ§

“©Ž¥‘åŒn46@´‚ÌŠ¯—qj‚É•`‚©‚ꂽ”n‚ÌŠá‚Æ—ÞŽ—‚µANà†Žž‘ã‚Ì“ÁF‚ª‚ ‚éB

狮ŽqŠáá˓I‰æ–@”@“¯“¤ÂÂ‰ÔŒQ马纹•ri‚43.6cmCŠåU@”~泽纪”O馆C•½–}ŽÐŠ§

“©áI‘åŒn46@´‘㊯窑j‰æ“I马Šáˆê样C¥NꤔN‘ã“I“ÁFB

The eyes of the lion are depicted in a similar way as in the case of the eyes of the horse in the gVase with Design of Horses Decorated in Doucai@i“¤Âj Enamels and Underglaze Blueh; which shows the characteristics of the Kangxi period. iHeight 43.6cm: Umezawa Museum collections, Emperor Kilns in the Qing Dynasty in the Ceramics Compendium Vol.46, published by Heibonsha Limited, Publishers.j

’ê— ˜I‘Ì‚©‚ç‘Ù“y‚ª•²‚̂悤‚ɏƒ”’‚Å—ÇŽ¿‚ȍ‚—ä(‚©‚¨‚è‚ñ)“y‚ªŠm”F‚Å‚«‚éB

˜¸’ê–ʘI‘Ì—ˆŠÅC‘Ù“y”@“¯•²ó纯”’C‰ÂˆÈ确认C¥优质“I‚岭“yB

From the unglazed clay of the base, snow-white kaolin of good quality is observed.

 

‘å‚«‚³‚È‚Ç‚©‚çl—¶‚µ‚Ä‚àAŒ»‘¶‚·‚éiˆÈ‰º‚̍•’nE‰©ŽOÊ•iŒQ‚́jŽOÊ‚ł͐¢ŠEÅ‘å‚Ì‚à‚Ì‚Å‚ ‚éB‚Ü‚½ˆ¤VŠo—…ˆê‘°‚ªAÅŒã‚Ü‚Å•úo‚µ‚È‚©‚Á‚½——R‚́Aw•ò“Vš¤ãSx‚É‚àà–¾‚³‚ê‚Ä‚¢‚é‚悤‚ɁAÅ‚‹‰•i‚̈µ‚¢‚ð‚µ‚Ä‚¢‚½‚½‚ß‚Å‚ ‚éB

˜¸‘召ã—ˆŠÅC¥现Ý“IŽOÊiˆÈ‰º“IüK’ꉩŽOÊüK’ê•iŒQj’†¢ŠEãÅ‘å“IˆêŒB“¯时C爱V觉罗ˆê‘°“žÅ@关头–ç–v—L卖o›€“I——RA”@“¯•ò“V图经ã说–¾“I

ˆê样C¥ˆö为›€”í认为¥Å‚“™级“Iì•iB

Judging from the size, this is the biggest piece in the world among the existing susancai  (‘fŽOÊ) or three-color enameled porcelains listed below which were overglazed on black ground (famille noire) or yellow ground (famille jaune).  The Aisin-Gioro families would not have parted with this porcelain to the end since they had regarded it as the best grade porcelain as mentioned in the Fengtian Illustrated Text.

 

yŒ»‘¶‚·‚鐴’©Šú‚Ì‘fŽOÊŽ¥Šíz

y现‘¶“I´’©Šú‘fŽOÊáIŠíz

List of the existing susancai (‘fŽOÊ) or three-color enameled porcelains produced during the Qing dynasty period:

‡@   ‘fŽOÊ‰Ô™Á•¶•û•ri‚‚³48.3 cmj@Š‘ F“ú–{EoŒõ”üpŠÙ@

’ê— ‚ÉŠ¼–Á‚È‚µB

‘fŽOÊ‰Ô™Á纹•û•ri‚48.3 cmj@ŠåUF“ú–{ oŒõ”ü术馆

’ê”w–Ê–v—LŠ¼铭B

Square vase with flower design in susancai enamels.

Height 48.3 cm.  

Idemitsu Museum of Arts, Japan.

   Note: No reign mark on the base.

 

‡A   ‘fŽOÊl•¨•¶•û᱁iŒûŒa@14.5cm~‚‚³14.8cmj

Š‘ F“Œ‹ž‘—§”Ž•¨ŠÙ

’ê— ‚É‘å–¾¬‰»”N»–ÁÝ‚èB–¯—q‚̍ì•iB

‘fŽOÊl•¨纹•û᱁iŒûŒa@14.5cm~‚14.8cmj

ŠåUF东‹ž ‘—§”Ž•¨馆

’ê”w–Ê—L‘å–¾¬‰»”N间§ì铭C–¯窑ì•iB

Square planter with design of figures in susancai enamels.

Diameter 14.5 cm; height 48.3 cm.

   Tokyo National Museum.

Note: Chenghua mark and reign period, Ming dynasty, 1465-1487, is painted on the base. The piece was made at a civil kiln.

 

‡B   ‘fŽOÊŽO‰Ê•¶ŽMiŒûŒa25.0cmj@Š‘ F“Œ‹ž‘—§”Ž•¨ŠÙ

@@’ê— ‚É“ñdŒ—“à‚ɑ吴Nà†”N»–ÁB

‘fŽOÊŽO‰Ê纹ŽMiŒûŒa25.0cmj@ŠåUF东‹ž ‘—§”Ž•¨馆

’ê”w–Ê‘odšŸ“à—L‘吴NꤔN§ì铭B

Dish with three kind of fruits design in susancai enamels.

Diameter 25.0 cm.

   Tokyo National Museum.

Note: Kangxi mark and reign period is painted within the double circles on the base.

 

‡C   ‘fŽOÊ“§’¤”ªŠp˜Fi‚‚³17.8cmj  Š‘ F–k‹ž@ŒÌ‹{”Ž•¨‰@

‘fŽOÊ“§”ªŠp˜Fi‚17.8cmj  ŠåUF–k‹ž ŒÌ宫”Ž•¨‰@

Octagonal incense burner with open work design in susancai enamels.

Height 17.8 cm.

National Palace Museum, Beijing.

 

‡D   •’nŒÜÊ‰Ô™Á•¶•û•ri‚‚³49.2cmj  Š‘ FCleveland Museum, Cleveland

üK’êŒÜÊ‰Ô™Á纹•û•ri‚49.2cmj  ŠåUF”ü‘Ž—¢•v兰 Ž—¢•v兰”Ž•¨馆

Square vase with flower design in famille verte enamels on black ground.

Height 49.2 cm.

The Cleveland Museum of Art, Cleveland, U.S.A.

 

‡E   ‰©’n‘fŽOÊ‰Ô’¹•¶•ri‚‚³77.8 cmj@Š‘ F“ú–{E”~‘ò‹L”OŠÙŠ‘ 

@@’ê— ‚É“ñdŒ—“à‚ɐ܎}‰Ô‚ÌŠGB

‰©’n‘fŽOÊ‰Ô鸟纹•ri‚77.8 cmj@ŠåUF“ú–{ ”~泽纪”O馆

’ê”w–Ê‘odšŸ“à—LÜŽ}‰Ô绘B

Vase with flower and bird design in susancai enamels on yellow ground.

Height 77.8 cm.

Umezawa Kinenkan Museum, Japan.

Note: A flower sprays design is painted within the double circles on the base.

 

‡F@‰©’n‘fŽOÊ‰Ô’¹‘oŽ¨•ri‚‚³51.6.cmj@Š‘ FVictoria and Albert Museum, London

‰©’ê‘fŽOÊ‰Ô鸟‘oŽ¨•ri‚51.6.cmj ŠåUF伦“Ö 维‘½—˜亚E罗”Œ“Á”Ž•¨馆

Vase with two handles decorated with flower and bird design in susancai enamels on yellow ground.

Height 77.8 cm.

Victoria and Albert Museum, London.

 

‡G@‘fŽOÊ˜@’r•¶ŠpŒ`•rEŒi“¿’ÁŠ¯—q@“ñ‘΁@@Š‘ F•xŽm”üpŠÙ

AA‚‚³@47.7cmAŒûŒa@11.5cmA“·14.4cm~14.5cmA’êŒa@11.2cm~11.4cm

BA‚‚³@47.7cmAŒûŒa@12.0cmA“·14.4cm~14.5cmA’êŒa@11.0cm~11.1cm

’ê— ‚ɂ́AŽlŠp‚ɍí‚荞‚ñ‚ՉԂŁu–Ø‚Ì—tv‚ð•`‚«A‚±‚Ì•”•ª‚¾‚¯Ž{çւµ‚Ä‚¢‚éB

‘fŽOÊ莲’r•¶ŠpŒ`•rEŒiúº镇Š¯窑@两对@@ŠåUF•xŽm”ü术馆

AF‚@47.7cmAŒûŒa@11.5cmA•r‘Ì14.4cm~14.5cmA’ê–Ê’¼Œa@11.2cm~11.4cm

BF‚@47.7cmAŒûŒa@12.0cmA•r‘Ì14.4cm~14.5cmA’ê–Ê’¼Œa@11.0cm~11.1cm

’ê”w–ʁC‰æ’…í‹ŽŽlŠp“IÂ‰Ôg–ØŠhC‘ü—L这•”•ª¥Ž{ç֐§ì“IB

A pair of famille noire square vases with lotus pond design.

Jingdezhen imperial kilns.

Tokyo Fuji Art Museum.

A: Height 47.7 cm, diameter 11.5 cm, body 14.4 cm~14.5 cm, bottom 11.2cm~11.4 cm

B: Height 47.7 cm, diameter 12.0 cm, body 14.4 cm~14.5 cm, bottom 11.0cm~11.1 cm

Note: A leaf is painted in cobalt blue on the incised square base before adopting glaze to it.

 

 

 

 

 

 

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