Period:Ming dynasty Production date:1403-1424
Materials:porcelain
Technique:glazed, underglazed,
Subjects:deity bamboo symbol daoism servant/domestic worker landscape
Dimensions:Diameter: 19.30 centimetres Height: 6.50 centimetres
Description:
Porcelain bowl with underglaze blue decoration. This skilfully potted bowl has rounded sides and stands on a small foot ring. Finely painted outlined designs are used alongside areas of graduated shading. Xi Wang Mu, the Daoist goddess of the west, dressed in an elaborate headdress and long flowing robes tied with a loose waist sash and scarf, stands in a garden beside a low balustrade holding a cassia spray. Approaching her from our right are two maids: one covers her hands with her long sleeves and greets the goddess, the other, holding a scroll or book under one arm, stands behind her. Another two women on our left are arriving, carrying a ‘qin’ wrapped in a textile and a box tied up in a cloth -possibly gifts for the goddess. Beyond the clouds are the roofs of a two-storey pavilion and in the distance five mountain peaks suggesting that we are viewing the fairy kingdom beyond the western hills. Auspicious plants – pine, bamboo, prunus and cassia – grow in the garden. Around the foot there is a band of key-fret. Double lines emphasize the outer rim, foot and joint of the foot to the bowl. The base is covered with a pure white glaze and is unmarked.
IMG
![图片[1]-bowl BM-1968-0422.30-China Archive](https://chinaarchive.net/Ming dynasty/Ceramics/mid_00032196_001.jpg)
![图片[2]-bowl BM-1968-0422.30-China Archive](https://chinaarchive.net/Ming dynasty/Ceramics/mid_00508395_001.jpg)
Comments:Harrison-Hall 2001:The ‘heaped and piled’ underglaze blue and blue-tinged glaze, covered with tiny holes like the skin of an orange, are typical features of early fifteenth-century blue-and-white. By comparing this dish with a Xuande mark and period bowl, formerly in the E. T. Chow Collection and currently on loan to the British Museum from the Ma Foundation in memory of K. C. Ma, we note that the British Museum dish is more finely potted and has a purer white glaze, suggesting that it predates the Xuande example and was made in the Yongle era, when figurative designs were very rare.
Materials:porcelain
Technique:glazed, underglazed,
Subjects:deity bamboo symbol daoism servant/domestic worker landscape
Dimensions:Diameter: 19.30 centimetres Height: 6.50 centimetres
Description:
Porcelain bowl with underglaze blue decoration. This skilfully potted bowl has rounded sides and stands on a small foot ring. Finely painted outlined designs are used alongside areas of graduated shading. Xi Wang Mu, the Daoist goddess of the west, dressed in an elaborate headdress and long flowing robes tied with a loose waist sash and scarf, stands in a garden beside a low balustrade holding a cassia spray. Approaching her from our right are two maids: one covers her hands with her long sleeves and greets the goddess, the other, holding a scroll or book under one arm, stands behind her. Another two women on our left are arriving, carrying a ‘qin’ wrapped in a textile and a box tied up in a cloth -possibly gifts for the goddess. Beyond the clouds are the roofs of a two-storey pavilion and in the distance five mountain peaks suggesting that we are viewing the fairy kingdom beyond the western hills. Auspicious plants – pine, bamboo, prunus and cassia – grow in the garden. Around the foot there is a band of key-fret. Double lines emphasize the outer rim, foot and joint of the foot to the bowl. The base is covered with a pure white glaze and is unmarked.
IMG
Comments:Harrison-Hall 2001:The ‘heaped and piled’ underglaze blue and blue-tinged glaze, covered with tiny holes like the skin of an orange, are typical features of early fifteenth-century blue-and-white. By comparing this dish with a Xuande mark and period bowl, formerly in the E. T. Chow Collection and currently on loan to the British Museum from the Ma Foundation in memory of K. C. Ma, we note that the British Museum dish is more finely potted and has a purer white glaze, suggesting that it predates the Xuande example and was made in the Yongle era, when figurative designs were very rare.
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