A LARGE BLUE AND WHITE 'ONE HUNDRED DEER' JAR MING DYNASTY, WANLI PERIOD

of robustly-potted ovoid form, painted around the exterior in cobalt-blue tones with 'One Hundred Deer' within a landscape of trees, rocks and swirling mist, all between a lotus-lappet band at the base and a butterfly and floral sprig band at the short waisted neck

This large and rare deer jar is in good overall condition with the exception of a 5 x 7cm., V-shaped area of over-painting to the rim (probably covering a bruise or small break/chip and an associated hairline crack; there would not appear to be any major loss), some glaze pulls and a glaze line running around the luting line of the foot and lower side of the body, minor glaze firing imperfections including blisters, kiln grit, iron-spots and glaze pulls, firing lines running around the edge of the foot in the interior, minor rim fritting and glaze scratches around the exterior. It should be noted that the cobalt-blue is of a stronger tone than the catalogue illustration would suggest.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Wanli jars of this design are rare although a closely related piece was sold at Christie's London, 16th November 1998, lot 81. Compare also a blue-and-white jar and cover of similar design but without the lappet band at the foot, formerly given to Queen Christina of Sweden (1626-1689) by the Portuguese Embassy in 1640, and now in the Museum of Far Eastern Antiquities, Stockholm, illustrated in Oriental Ceramics. The World's Great Collections, vol. 8, Tokyo, 1982, pl. 247. 

Wanli jars decorated with the 'Hundred Deer' motif can be more readily found painted in the wucai enamels; for example see a jar in the National Palace Museum, Taipei, included in Minji meihin zuroku, vol. II, Tokyo, 1978, pl. 101; further two vases in Japan, one formerly in the Yokogawa collection published in the Illustrated Catalogue of Tokyo National Museum. Chinese Ceramics, vol. II, Tokyo, 1990, cat.no. 330, and the other in a private collection included in Sekai toji zenshu, vol. 14, Tokyo, 1976, fig. 218. A third wucai vase of this design, from the collection of Ernest Grandidier in the Musee Guimet, Paris, is published in Oriental Ceramics. The World's Great Collections, vol. 7, Tokyo, 1981, col. pl. 26.

The design of  a 'Hundred Deer' (bai lu) is rich in symbolic meaning, bailu being the homophone for 'high official rank and good income'.  Deer is also an auspicious animal, is a symbol of long life and is often depicted together with the God of Longevity, Shoulao.