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拍品詳情

中國瓷器及工藝品

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元十四世紀 青花如意印花纏枝牡丹紋菱口盤
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Diameter 18 in., 45.7 cm
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來源

現藏家之父母購於1950年代,自此家族收藏

相關資料

Dishes with blue ground ruyi-shaped panels are known but none other with further ruyi-form reserves radiating from the center. The finely molded cavetto is another rare feature on this type of dish. Closely related examples with similar design elements are represented in several museums such as the Los Angeles County Museum, The Museum of Oriental Ceramics, Osaka, the British Museum, London, the Victoria and Albert Museum, London and the Shanghai Museum (all lacking raised decoration). Two other dishes with similar design are illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul: A Complete Catalogue II, Yuan and Ming Dynasty Porcelains, London, 1986, nos. 552, 553, pp. 489-490. A related dish with ruyi-form reserves from the H. M. Knight Collection was sold in our Hong Kong rooms, 18th May 1982, lot 20 and another with radiating Buddhist panels from the Wanniek Collection in our London rooms, 9th June 1987, lot 210.

There are over a hundred surviving examples of such dishes in the Near East, Central Asia and India, with those with molded decoration being relatively rare. It is interesting to note that while these dishes share many motifs, their combinations tend to be unique; underscoring the importance of each individual dish. Their large size and bold decoration represent the taste of the Yuan court with its habit of communal dining. This practice traveled from the Middle East along the silk route so it is not surprising that these impressive dishes were objects of great admiration and demand in that region as well. Margaret Medley notes in Chinese Ceramics and Islamic Design, Percival David Foundation Colloquies on Art and Archaeology in Asia, London, 1972, no. 3, that "the chief formative influence in Yuan blue and white design came from Islamic metalwork with its great enrichment of surface...and indefinite extension into space of mathematically conceived two dimension ornament." While this certainly holds true, the ingenious composition and inclusion of Buddhist emblems are distinctly Chinese.

中國瓷器及工藝品

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紐約