Early Ming
See also : China Chinese porcelain Ming porcelain Ancient sculpture Textiles Chinese dragon Chinese calligraphy Buddhism Religious texts
Chronology : 15th century 1400-1429 1430-1459
Chronology : 15th century 1400-1429 1430-1459
The Buddhist Legitimacy of the Yongle Emperor
2014 SOLD for HK$ 350M including premium
Hongwu had founded the Ming Dynasty by relying upon Buddhist sects. His fourth son, the Prince of Yan, was an able and competent general. Too competent indeed : the old emperor found a subterfuge for removing him from the rule of succession.
The Prince took power in a coup four years later, 1402 in our calendar. His nephew, who perished in the fire of the imperial palace after having revived the feudal war, was scholar minded and supported by the Confucians. The new emperor erased from the annals the reign of his predecessor of whom he massacred the followers, took the name Yongle meaning Perpetual Happiness and immediately began to prepare for the transfer of the capital from Nanking to Beijing.
The ambitious Yongle could not appear as a usurper : he offered to himself a Buddhist legitimacy. He invited the Karmapa, who was one of the most important sages of Tibetan Buddhism and got his power through reincarnation.
The trip of the Karmapa from Tibet to Nanking lasted four years, during which Yongle organized the Buddhist tribute to his deceased parents and prepared lavish gifts. The stories of miracles performed by the Karmapa were propagated and contributed effectively to assure the power of Yongle, now firmly established as Hongwu's heir.
On November 26 in Hong Kong, Christie's sells a wonderful silk thangka embroidered with silk and gold threads, lot 3001. This monumental piece 3.35 x 2.13 m is in perfect condition with bright colors of great beauty.
According to the concerns of Yongle, its theme is the victory over death. The central character with a bright red head is Raktayamari, the Conqueror of Death, who embraces his wife and mercilessly tramples the blue body of Yama the Lord of Death lying on the back of a buffalo. The top and bottom of the image display some deities inviting to Buddhist devotion.
This piece includes the presentation mark of Yongle. The existence of two thangkas of same quality in a monastery in Lhasa along with the fact that the thangka for sale was in Sikkim in the 1940s reinforces the assumption that it had actually accompanied the Karmapa in his return trip.
The Prince took power in a coup four years later, 1402 in our calendar. His nephew, who perished in the fire of the imperial palace after having revived the feudal war, was scholar minded and supported by the Confucians. The new emperor erased from the annals the reign of his predecessor of whom he massacred the followers, took the name Yongle meaning Perpetual Happiness and immediately began to prepare for the transfer of the capital from Nanking to Beijing.
The ambitious Yongle could not appear as a usurper : he offered to himself a Buddhist legitimacy. He invited the Karmapa, who was one of the most important sages of Tibetan Buddhism and got his power through reincarnation.
The trip of the Karmapa from Tibet to Nanking lasted four years, during which Yongle organized the Buddhist tribute to his deceased parents and prepared lavish gifts. The stories of miracles performed by the Karmapa were propagated and contributed effectively to assure the power of Yongle, now firmly established as Hongwu's heir.
On November 26 in Hong Kong, Christie's sells a wonderful silk thangka embroidered with silk and gold threads, lot 3001. This monumental piece 3.35 x 2.13 m is in perfect condition with bright colors of great beauty.
According to the concerns of Yongle, its theme is the victory over death. The central character with a bright red head is Raktayamari, the Conqueror of Death, who embraces his wife and mercilessly tramples the blue body of Yama the Lord of Death lying on the back of a buffalo. The top and bottom of the image display some deities inviting to Buddhist devotion.
This piece includes the presentation mark of Yongle. The existence of two thangkas of same quality in a monastery in Lhasa along with the fact that the thangka for sale was in Sikkim in the 1940s reinforces the assumption that it had actually accompanied the Karmapa in his return trip.
Yongle Gilt Bronze of Shakyamuni Buddha
2013 SOLD for HK$ 236M by Sotheby's
Yongle, the third emperor of the Ming Dynasty, is one of the most remarkable of all the emperors of China. A formidable autocrat and an uncompromising military, he was however a protector of all cultural trends and all religions of China.
At the beginning of his reign, 600 years ago, his sympathy for Buddhism is clearly stated. Relying on a meeting with an important Tibetan scholar, it is accompanied by the announcement of miracles.
Nothing is simple with the Yongle emperor. His personal preference went certainly to Confucianism, and such a pro-Buddhist movement could be a strategy to reduce the influence of the Yuan.
The gilt bronze Buddhist figures reach their supreme refinement during the reign of Yongle. The perfection of expressions and attitudes is worthy of the purity of Buddha. The thick double lotus base allows him to dominate his audience while retaining a seated pose.
The massive statues reach a perfection of casting, form, proportions and aesthetic grace. They are more frequent in the Yongle reign due to his policy of imperial export and presentation of Buddhist sculptures to Tibet which was discontinued by the Xuande emperor. They are very rare in large size.
On October 8, 2013, Sotheby's sold for HK $ 236M from a lower estimate of HK $ 50M a statue 55 cm high with the mark of Yongle, lot 3075. The absence of color traces goes against the Tibetan tradition and suggests that this Buddha was designed for the use of the imperial court.
Seated on a double lotus, Shakyamuni Buddha displays an attitude of complete serenity. His eyelids are closed despite the temptation from the demons in the last events preceding his enlightenment. A hand towards the ground shows that he does not forget the realities.
Buddha is omnipotent. He plays all the roles to lead the faithful on his way. His most popular figures are Shakyamuni, reminiscent of his historical preaching, and Amitabha who invites the souls on the way to paradise. The Buddha healer of the bodies, Bhaishajyaguru, is more rare.
On March 20, 2014, Christie's sold for $ 5.5M a Bhaishajyaguru 28 cm high with the Yongle imperial mark. Smiling but a little stiff in his role as a teacher, this Medicine Buddha offers the myrobalan, an obsolete wording naming the dried fruit for pharmaceutical use. In one hand he carries a pot. To display his symbol, he takes with elegance a single fruit between thumb and index fingers of the other hand.
A 57 cm high figure of Amitayus with the Xuande mark was sold for HK $ 70M by Christie's on May 31, 2010, lot 1961. Amitayus is the Buddha of infinite life. The serene deity is seated on a lotus base. The legs are crossed. The hands are joined over the lap with raised thumbs as a sign of meditation, the rounded face with eyes downcast is benevolent. His majesty is represented by the eight leaf crown and the abundant jewel chains radiating on the bare torso. Exquisite details include the hair swept back in a topknot.
This period of magnificent Buddhist art terminates in 1436 CE when overpopulating monks are expelled from the capital by a new emperor.
At the beginning of his reign, 600 years ago, his sympathy for Buddhism is clearly stated. Relying on a meeting with an important Tibetan scholar, it is accompanied by the announcement of miracles.
Nothing is simple with the Yongle emperor. His personal preference went certainly to Confucianism, and such a pro-Buddhist movement could be a strategy to reduce the influence of the Yuan.
The gilt bronze Buddhist figures reach their supreme refinement during the reign of Yongle. The perfection of expressions and attitudes is worthy of the purity of Buddha. The thick double lotus base allows him to dominate his audience while retaining a seated pose.
The massive statues reach a perfection of casting, form, proportions and aesthetic grace. They are more frequent in the Yongle reign due to his policy of imperial export and presentation of Buddhist sculptures to Tibet which was discontinued by the Xuande emperor. They are very rare in large size.
On October 8, 2013, Sotheby's sold for HK $ 236M from a lower estimate of HK $ 50M a statue 55 cm high with the mark of Yongle, lot 3075. The absence of color traces goes against the Tibetan tradition and suggests that this Buddha was designed for the use of the imperial court.
Seated on a double lotus, Shakyamuni Buddha displays an attitude of complete serenity. His eyelids are closed despite the temptation from the demons in the last events preceding his enlightenment. A hand towards the ground shows that he does not forget the realities.
Buddha is omnipotent. He plays all the roles to lead the faithful on his way. His most popular figures are Shakyamuni, reminiscent of his historical preaching, and Amitabha who invites the souls on the way to paradise. The Buddha healer of the bodies, Bhaishajyaguru, is more rare.
On March 20, 2014, Christie's sold for $ 5.5M a Bhaishajyaguru 28 cm high with the Yongle imperial mark. Smiling but a little stiff in his role as a teacher, this Medicine Buddha offers the myrobalan, an obsolete wording naming the dried fruit for pharmaceutical use. In one hand he carries a pot. To display his symbol, he takes with elegance a single fruit between thumb and index fingers of the other hand.
A 57 cm high figure of Amitayus with the Xuande mark was sold for HK $ 70M by Christie's on May 31, 2010, lot 1961. Amitayus is the Buddha of infinite life. The serene deity is seated on a lotus base. The legs are crossed. The hands are joined over the lap with raised thumbs as a sign of meditation, the rounded face with eyes downcast is benevolent. His majesty is represented by the eight leaf crown and the abundant jewel chains radiating on the bare torso. Exquisite details include the hair swept back in a topknot.
This period of magnificent Buddhist art terminates in 1436 CE when overpopulating monks are expelled from the capital by a new emperor.
Yongle - A Masculine Yongle Meiping
2011 SOLD 168 MHK$ including premium
Yongle, the third Ming emperor, reigned 600 years ago. In porcelain, the cobalt blue on a white background was already reaching a high level of perfection, and the Meiping shape was fashionable for the vases.
Porcelain is an art that invites the touch, and the curves of the Meiping with their bulging under the collar have a sensual intent. The large vase, 36 cm high, for sale by Sotheby's in Hong Kong on October 5, is more masculine in its massive form. Its fine decoration is classic : branches bearing fruit.
It is the star lot of the second sale of the prestigious Meiyintang collection. It is estimated HK $ 80M, and illustrated at the top of the left column in the article shared by ARTINFO.
The first Meiyintang sale, on April 7, included some very beautiful pieces, but buyers were confused by the process for guarantee of payment requested by the auction house. The two top lot, the Qianlong vase with pheasants and a bowl with melon vines from Chenghua time, had to wait the post-sale for finding a buyer, at 200 and 90 MHK$ respectively.
The next sale will be a good test for this exciting market.
POST SALE COMMENT
It is a glorious day for the Ming porcelain. This large size vase was sold HK$ 168M including premium.
Porcelain is an art that invites the touch, and the curves of the Meiping with their bulging under the collar have a sensual intent. The large vase, 36 cm high, for sale by Sotheby's in Hong Kong on October 5, is more masculine in its massive form. Its fine decoration is classic : branches bearing fruit.
It is the star lot of the second sale of the prestigious Meiyintang collection. It is estimated HK $ 80M, and illustrated at the top of the left column in the article shared by ARTINFO.
The first Meiyintang sale, on April 7, included some very beautiful pieces, but buyers were confused by the process for guarantee of payment requested by the auction house. The two top lot, the Qianlong vase with pheasants and a bowl with melon vines from Chenghua time, had to wait the post-sale for finding a buyer, at 200 and 90 MHK$ respectively.
The next sale will be a good test for this exciting market.
POST SALE COMMENT
It is a glorious day for the Ming porcelain. This large size vase was sold HK$ 168M including premium.
Yongle Moon Flask
2016 SOLD for HK$ 110M by Sotheby's
Yongle, the third Ming emperor, was the most powerful monarch of his time. Ruthless enemy of the Mongols, he had a more open and tolerant vision of the rest of the world and successfully promoted the voyages of discovery.
At that time, the blue and white dominates the Chinese porcelain but touch is as important as visual beauty. A gourd also named moon flask is a technical feat by its complex shape. Its body in a more or less bulging oval section is pleasing to hold in hands for pouring. The recipient is circular, with two winding handles around the bulbous neck. The belly is more or less rounded depending on the variants.
The main known role of their new shape and new decoration was to create pieces able to demonstrate the Chinese know-how to the Muslim rulers of the Middle East. The moon flasks were thus used for presentation during diplomatic and commercial exchanges.
An example is indeed shaped from a Middle Eastern metal model with a decoration of Islamic origin. Its flattened spherical body is set with two circular bosses at the sides, rising to a garlic neck flanked by the pair of handles. Both faces are painted in deep cobalt blue with hexagonal and other polygonal facets sheltering lotus flower heads, the central one with a foliated bloom being a six branch star.
This flask is not marked, as usual for the Yongle porcelains, but has been prepared in Jingdezhen probably for the use of the Chinese imperial court. It was sold for HK $ 110M from a lower estimate of HK $ 25M by Sotheby's on April 5, 2016, lot 17.
These shapes will be continued under Xuande, with some small changes especially concerning the shape of the base. The Qing, keen of the synthesis of all Chinese art, will make replicas.
At that time, the blue and white dominates the Chinese porcelain but touch is as important as visual beauty. A gourd also named moon flask is a technical feat by its complex shape. Its body in a more or less bulging oval section is pleasing to hold in hands for pouring. The recipient is circular, with two winding handles around the bulbous neck. The belly is more or less rounded depending on the variants.
The main known role of their new shape and new decoration was to create pieces able to demonstrate the Chinese know-how to the Muslim rulers of the Middle East. The moon flasks were thus used for presentation during diplomatic and commercial exchanges.
An example is indeed shaped from a Middle Eastern metal model with a decoration of Islamic origin. Its flattened spherical body is set with two circular bosses at the sides, rising to a garlic neck flanked by the pair of handles. Both faces are painted in deep cobalt blue with hexagonal and other polygonal facets sheltering lotus flower heads, the central one with a foliated bloom being a six branch star.
This flask is not marked, as usual for the Yongle porcelains, but has been prepared in Jingdezhen probably for the use of the Chinese imperial court. It was sold for HK $ 110M from a lower estimate of HK $ 25M by Sotheby's on April 5, 2016, lot 17.
These shapes will be continued under Xuande, with some small changes especially concerning the shape of the base. The Qing, keen of the synthesis of all Chinese art, will make replicas.
Yongle Ewer
2023 SOLD for HK$ 107M by Sotheby's
The pear shaped ewer is arguably the most exquisite vessel in the Yongle period when its spout, rim and handle are in straight upper alignment.
A 22.5 cm high ewer was sold for HK $ 107M by Sotheby's on April 8, 2023, lot 101. Its cobalt blue is rich and its glaze is pristine. The cover is missing but its chain attachment eyelet is present on the handle. Please watch the video shared by the auction house.
This piece is painted on both sides in a double lined peach shaped cartouche with an undulating powerful dragon. They are portrayed in direct mirror image, both looking up towards the wine or tea pouring from the spout.
It does not have an imperial mark, as usual for most of the porcelains from that reign. It was nevertheless made for imperial use as evidenced by the five claws per paw of the dragon, a symbol of the emperor. Dragon vessels made for diplomatic presentation feature three claws per paw.
The same image of the dragon was also used to decorate bowl bottoms and outside walls, stem cups, washers and probably chargers and jars. It became highly popular from the Xuande period onwards.
Jingdezhen potters used to discard the pieces that were not perfect enough for the emperor. A nearly complete broken ewer nearly identical in form and painting style as the example above has been excavated from a Yongle kiln strata in that manufacturing site.
A mausoleum ewer in pure gold in the same shape and size is dated from the unique year of Yongle's successor Hongxi.
A 22.5 cm high ewer was sold for HK $ 107M by Sotheby's on April 8, 2023, lot 101. Its cobalt blue is rich and its glaze is pristine. The cover is missing but its chain attachment eyelet is present on the handle. Please watch the video shared by the auction house.
This piece is painted on both sides in a double lined peach shaped cartouche with an undulating powerful dragon. They are portrayed in direct mirror image, both looking up towards the wine or tea pouring from the spout.
It does not have an imperial mark, as usual for most of the porcelains from that reign. It was nevertheless made for imperial use as evidenced by the five claws per paw of the dragon, a symbol of the emperor. Dragon vessels made for diplomatic presentation feature three claws per paw.
The same image of the dragon was also used to decorate bowl bottoms and outside walls, stem cups, washers and probably chargers and jars. It became highly popular from the Xuande period onwards.
Jingdezhen potters used to discard the pieces that were not perfect enough for the emperor. A nearly complete broken ewer nearly identical in form and painting style as the example above has been excavated from a Yongle kiln strata in that manufacturing site.
A mausoleum ewer in pure gold in the same shape and size is dated from the unique year of Yongle's successor Hongxi.
Yongle Holy Water Vessel
2016 SOLD for HK$ 100M by Sotheby's
A type of ewer from the Yongle period is known in three pieces, all of them in blue and white. Its shape is highly unusual, with its body set in its lower part with a raising spout, very long, tapered and facetted, ending in a lipped rim, without a handle.
This vessel is beautifully pouring in a thin and elegant stream, certainly not for palace use but for a ceremonial use. The Yongle emperor was a devout Buddhist. Such a holy water vessel was admired by the Qianlong emperor who commented it with a Buddhist phrase.
Specialists are considering that monochrome white porcelains would have been preferred for Buddhist rituals. Indeed a fragmentary piece has been reconstituted from sherds in the Yongle kiln stratum at Jingdezhen.
One of the three examples was sold for HK $ 100M from a lower estimate of HK $ 35M by Sotheby's on April 5, 2016, lot 15. The cobalt decoration of the pear shaped body is made of hibiscus bloom heads amidst arabesques of leaves. The spout and the unusual stepped foot are painted with stylized lotuses.
This vessel is beautifully pouring in a thin and elegant stream, certainly not for palace use but for a ceremonial use. The Yongle emperor was a devout Buddhist. Such a holy water vessel was admired by the Qianlong emperor who commented it with a Buddhist phrase.
Specialists are considering that monochrome white porcelains would have been preferred for Buddhist rituals. Indeed a fragmentary piece has been reconstituted from sherds in the Yongle kiln stratum at Jingdezhen.
One of the three examples was sold for HK $ 100M from a lower estimate of HK $ 35M by Sotheby's on April 5, 2016, lot 15. The cobalt decoration of the pear shaped body is made of hibiscus bloom heads amidst arabesques of leaves. The spout and the unusual stepped foot are painted with stylized lotuses.
1430 Imperial Wisdom
2018 SOLD for HK$ 240M including premium
The calligraphy of the Sutras of Mahayana Buddhism is an act of piety welcomed for education and enlightenment. When the patron or the user is an emperor, the manuscript reaches a luxury unmatched in its class.
A gold ink on dark blue paper is sumptuous. A Lotus Sutra handwritten in 1345 CE for the education of a child emperor of Korea was sold for HK $ 31.6M including premium by Sotheby's on May 30, 2016. The lot consisted of seven big albums.
Buddhism is essential for the consolidation of the Ming dynasty. After the death of the warrior emperor Yongle, his Buddhist advisers organize a period of peace. The very short reign of the Hongxi emperor initiates the necessary reforms. His son the Xuande emperor can satisfy his artistic talents and grant to Buddhism a preference devoid from political intents.
During the fifth year of his reign, 1430 CE, Xuande commissioned an Elder of the State named Huijin to calligraphy four great Sutras. The paper is covered with dark indigo ink mixed with goat brain. This thick, brilliant and strong layer allows the gold to stay on the surface without diffusing into the paper fibers. This biological constituent is an emulsifier similar to egg white in the tempera paint.
All the four Sutras are realized. Two are kept at the National Palace Museum in Taipei. The third was probably early lost in a fire after being presented to a monastery founded with Xuande's sponsorship.
Two cases containing five consecutive albums each from the Sutra of transcendent wisdom or prajnaparamita have survived. In addition to the calligraphy, the work includes illustrations in thin gold lines of Buddhist, imperial and esoteric figures including Buddhas, dragons and demons. This set will be sold by Sotheby's in Hong Kong on April 3, lot 101. The rest of this very long Sutra is lost.
Please watch the video shared by Sotheby's.
A gold ink on dark blue paper is sumptuous. A Lotus Sutra handwritten in 1345 CE for the education of a child emperor of Korea was sold for HK $ 31.6M including premium by Sotheby's on May 30, 2016. The lot consisted of seven big albums.
Buddhism is essential for the consolidation of the Ming dynasty. After the death of the warrior emperor Yongle, his Buddhist advisers organize a period of peace. The very short reign of the Hongxi emperor initiates the necessary reforms. His son the Xuande emperor can satisfy his artistic talents and grant to Buddhism a preference devoid from political intents.
During the fifth year of his reign, 1430 CE, Xuande commissioned an Elder of the State named Huijin to calligraphy four great Sutras. The paper is covered with dark indigo ink mixed with goat brain. This thick, brilliant and strong layer allows the gold to stay on the surface without diffusing into the paper fibers. This biological constituent is an emulsifier similar to egg white in the tempera paint.
All the four Sutras are realized. Two are kept at the National Palace Museum in Taipei. The third was probably early lost in a fire after being presented to a monastery founded with Xuande's sponsorship.
Two cases containing five consecutive albums each from the Sutra of transcendent wisdom or prajnaparamita have survived. In addition to the calligraphy, the work includes illustrations in thin gold lines of Buddhist, imperial and esoteric figures including Buddhas, dragons and demons. This set will be sold by Sotheby's in Hong Kong on April 3, lot 101. The rest of this very long Sutra is lost.
Please watch the video shared by Sotheby's.
Xuande - The Blue Fishes
2017 SOLD for HK$ 230M including premium
When the emperor himself encouraged the development of porcelain techniques, the ingenuity of the Jingdezhen potters no longer had any limits. The reign of Xuande, the fifth emperor of the Ming dynasty, is one of those golden ages with spectacular progress for blue and red under glaze.
The red is still difficult to achieve and its drawing remains limited to massive silhouettes of fish or fruit. At the same time the cobalt blue is obtained in a series of tones which enable subtle contrasts. The quality of the Xuande blue and white will never be surpassed.
The sharpness of the blue drawing becomes exceptional but the iconography remains traditional. The wall of a bowl is read like a paper ink drawing being gradually unrolled. The theme of fishes moving at mid-depth amidst the aquatic weeds of a pond is well suited to such achievements.
On April 5 in Hong Kong, Sotheby's sells at lot 101 a bell-shaped bowl on that theme, 23 cm in diameter, with a ultimate refinement : it is lobed in ten sections down to the base which is also lobed in the extension. The goal is an unprecedented visual effect : the unfolding of the image before the eyes gives the impression of a gentle movement of the fish.
The lobes are not new in Chinese porcelain : washers or saucers lobed for imitating a flower had been a specialty of the fabulous Ru kilns at the end of the Northern Song dynasty.
A piece as deep as that lobed fish bowl is a technical feat : no other specimen of this form and visual effect has surfaced in such a large size. Two smaller bowls were identified in an ancient inventory of the Taipei Museum. Waste from an even smaller discarded piece was found in Jingdezhen.
It is difficult to estimate the price of such a rarity that reaches the extreme limits of the technologies known under the early Ming. The press release of March 8 hopes a result beyond HK $ 100M.
The red is still difficult to achieve and its drawing remains limited to massive silhouettes of fish or fruit. At the same time the cobalt blue is obtained in a series of tones which enable subtle contrasts. The quality of the Xuande blue and white will never be surpassed.
The sharpness of the blue drawing becomes exceptional but the iconography remains traditional. The wall of a bowl is read like a paper ink drawing being gradually unrolled. The theme of fishes moving at mid-depth amidst the aquatic weeds of a pond is well suited to such achievements.
On April 5 in Hong Kong, Sotheby's sells at lot 101 a bell-shaped bowl on that theme, 23 cm in diameter, with a ultimate refinement : it is lobed in ten sections down to the base which is also lobed in the extension. The goal is an unprecedented visual effect : the unfolding of the image before the eyes gives the impression of a gentle movement of the fish.
The lobes are not new in Chinese porcelain : washers or saucers lobed for imitating a flower had been a specialty of the fabulous Ru kilns at the end of the Northern Song dynasty.
A piece as deep as that lobed fish bowl is a technical feat : no other specimen of this form and visual effect has surfaced in such a large size. Two smaller bowls were identified in an ancient inventory of the Taipei Museum. Waste from an even smaller discarded piece was found in Jingdezhen.
It is difficult to estimate the price of such a rarity that reaches the extreme limits of the technologies known under the early Ming. The press release of March 8 hopes a result beyond HK $ 100M.
A Xuande bowl expected to fetch US$12.8mil leads #HongKong's Chinese Works of Art sales on 5 Apr #sothebysasianart https://t.co/5ILRjKHVQh pic.twitter.com/WIhR7E11Yk
— Sotheby's (@Sothebys) March 27, 2017
Ferocious Dragons for the Xuande Emperor
2016 SOLD for HK$ 158M including premium
The mastery of porcelain in the Ming dynasty is achieved in three phases : a restart to the top quality under Yongle, an approach to touching perfection under Xuande and the masterpieces for the palace of Chenghua.
The use of underglaze cobalt blue on the white porcelain had reached under the Yuan a refinement which continued under Yongle. In the reign of the Xuande emperor the chemists significantly improved this technique for shading the blue. An extreme care is taken in the homogeneity of the cobalt solution and in the control of the kiln atmosphere. The sharpness of the line is also improved.
The image of the dragon, appreciated by the Yuan, becomes popular again in the Xuande porcelain, with a fierce expression. Dark blue dragons move in an environment of lighter figures. This contrast reinforces the power of the imperial symbol.
On May 30, 2016, Christie's sold for HK $ 158M from a lower estimate of HK $ 60M a jar with the mark of Xuande 48 cm high, lot 3012. The empowered dragon deploys its undulating body throughout the circumference. It is a great examples of the Xuande perfection in blue and white that will never be equaled even under Chenghua.
The use of underglaze cobalt blue on the white porcelain had reached under the Yuan a refinement which continued under Yongle. In the reign of the Xuande emperor the chemists significantly improved this technique for shading the blue. An extreme care is taken in the homogeneity of the cobalt solution and in the control of the kiln atmosphere. The sharpness of the line is also improved.
The image of the dragon, appreciated by the Yuan, becomes popular again in the Xuande porcelain, with a fierce expression. Dark blue dragons move in an environment of lighter figures. This contrast reinforces the power of the imperial symbol.
On May 30, 2016, Christie's sold for HK $ 158M from a lower estimate of HK $ 60M a jar with the mark of Xuande 48 cm high, lot 3012. The empowered dragon deploys its undulating body throughout the circumference. It is a great examples of the Xuande perfection in blue and white that will never be equaled even under Chenghua.
What makes this large 15th-century 'dragon' jar so rare — and so special? https://t.co/QLNIYOqVal pic.twitter.com/3fOW2SxJrB
— Christie's (@ChristiesInc) May 16, 2016
Once used as an umbrella stand, this Ming Dynasty 'Dragon' jar sold for over $20 million pic.twitter.com/BT3lTth3vU
— Christie's (@ChristiesInc) July 22, 2016
Xuande Stembowl with Anhua
2012 SOLD for HK$ 113M by Sotheby's
During Xuande's reign, white porcelain is purified with an unprecedented care, creating an unalterable material. The improvement of the cobalt blue associated with a thick glaze provides to the imperial pieces the brilliance of the drawing and the tactile quality. These advances allow Jingdezhen potters to prepare new visual effects.
The realization of different hues of blue on the same piece is obtained by spreading the color like a traditional ink wash on a paper. Obtaining shades of blue by modifying the purity of cobalt will be developed half a century later for the Chenghua palace bowls.
The Chinese have always enjoyed the lithophanes. The new purity of the porcelain, associated with a thinness of the walls which does not prevent the robustness, makes it possible to incise hidden images observable only by transparency. This technique is named anhua.
A model of bowl on a tall hollow foot includes all these advances of the blue and white. These pieces about 15.5 cm in diameter are decorated on the exterior of the bowl with two dragons drawn in dark blue with a fine brush, evolving within light blue clouds. The interior includes a pair of anhua dragons that encircle the imperial mark painted in dark blue. For these bowls of very high prestige, these dragons are imperial with five fingers per leg.
These stem bowls were made in series, as it is often the case with Chinese imperial porcelain. Four of them are almost identical. A bowl 15 cm high was sold for HK $ 113M from a lower estimate of HK $ 50M by Sotheby's on April 4, 2012, lot 29. The artist, playing with the thickness of the line, obtained several shades of blue.
Another one was sold for HK $ 75M by Sotheby's in Hong Kong on October 8, 2019, lot 3606. Please watch the video shared by the auction house.
Four pieces also exist in a very close variant, of the same dimensions, recognizable by a different design of the rocks on the foot. One of them, also with the anhua, was sold for HK $ 69M by Christie's on November 30, 2016. Christie's commented that the anhua is so subtle that it was missed by the catalogers in the previous sales of the same specimen.
On May 31, 2016, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup without anhua, lot 84. Please watch the video edired by the auction house. On the theme of two flying dragons chasing the pearl, it is a great example of the Xuande luminosity in the blue and white that will never be achieved again, even under Chenghua. This small piece 8.7 cm high and 9.8 cm in diameter is in brilliant condition including the perfectly preserved softness of its thick and lustrous glaze.
The realization of different hues of blue on the same piece is obtained by spreading the color like a traditional ink wash on a paper. Obtaining shades of blue by modifying the purity of cobalt will be developed half a century later for the Chenghua palace bowls.
The Chinese have always enjoyed the lithophanes. The new purity of the porcelain, associated with a thinness of the walls which does not prevent the robustness, makes it possible to incise hidden images observable only by transparency. This technique is named anhua.
A model of bowl on a tall hollow foot includes all these advances of the blue and white. These pieces about 15.5 cm in diameter are decorated on the exterior of the bowl with two dragons drawn in dark blue with a fine brush, evolving within light blue clouds. The interior includes a pair of anhua dragons that encircle the imperial mark painted in dark blue. For these bowls of very high prestige, these dragons are imperial with five fingers per leg.
These stem bowls were made in series, as it is often the case with Chinese imperial porcelain. Four of them are almost identical. A bowl 15 cm high was sold for HK $ 113M from a lower estimate of HK $ 50M by Sotheby's on April 4, 2012, lot 29. The artist, playing with the thickness of the line, obtained several shades of blue.
Another one was sold for HK $ 75M by Sotheby's in Hong Kong on October 8, 2019, lot 3606. Please watch the video shared by the auction house.
Four pieces also exist in a very close variant, of the same dimensions, recognizable by a different design of the rocks on the foot. One of them, also with the anhua, was sold for HK $ 69M by Christie's on November 30, 2016. Christie's commented that the anhua is so subtle that it was missed by the catalogers in the previous sales of the same specimen.
On May 31, 2016, Lyon and Turnbull in association with Freeman's sold for HK $ 41.5M a stem cup without anhua, lot 84. Please watch the video edired by the auction house. On the theme of two flying dragons chasing the pearl, it is a great example of the Xuande luminosity in the blue and white that will never be achieved again, even under Chenghua. This small piece 8.7 cm high and 9.8 cm in diameter is in brilliant condition including the perfectly preserved softness of its thick and lustrous glaze.
