明萬曆 五彩「趕珠雲龍」紋罐 《大明萬曆年製》款

heavily potted with a squat ovoid body, the exterior painted with blue and red dragons pacing above turbulent waves in pursuit of flaming pearls, the rim with a meandering foliate scroll and the foot with a band of florets on cresting waves, the central countersunk base inscribed with a six-character Wanli mark within a double-circle, Japanese wood box

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The original cover is missing. The jar is in good condition with the exception of a circa 8cm., restored hairline rim crack, very minor rubbing to the iron-red decoration, some flaking to the green enamel and light glaze scratches.
"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."

A closely related example from the Stanley Herzman collection, now in the Metropolitan Museum of Art, New York, is published in Suzanne G. Valenstein, The Herzman Collection of Chinese Ceramics, Hong Kong, 1992, pl. 85; one with its original cover in the Shanghai Museum is illustrated in The Complete Works of Chinese Ceramics, vol. 13, Shanghai, 2000, pl. 120; and another was offered at Christie’s Hong Kong 27^th November 2007, lot 1748. Compare also a blue and white decorated version from the collection of C.P. Lin, included in the exhibition Elegant Form and Harmonious Decoration, Percival David Foundation of Chinese Art, London, 1992, cat. no. 90. A slightly smaller jar of this form and with a cover, but decorated with dancing figures, in the Idemitsu collection, is published in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 748; and another, from the Jingguantang collection, was sold at Christie’s London, 15^thNovember 2000, lot 32.

While the subject and style of decoration is characteristic of Wanli imperial wares, the band of decoration encircling the base is uncommon. This motif of flower heads floating on ripples of water is known as luo hua liu shui (Falling flowers on flowing water) and first appeared on Chenghua ceramics. It references flowers falling from trees in the late-Spring into the rivers which are still overflowing from the melted snow from the mountains.  The theme appears to have originated in Tang dynasty poetry and music and inspired the work of painters, writers and potters from the Song period.