International studio (60.1916/1917)

Chinese Ceramic Collections in Museums

der is bordered by a three-coloured lanceolation,
whilst the upper rim flange is encircled by a “her-
ring-bone” band. Height, 17)4 inches. Date:
era of K’ang-hsi (1662-1722).
Cut No. 7 is described in the University Mu-
seum Catalogue as a tall square black hawthorn
vase of rectangular form, tapering downward
from the slightly curving shoulder and with small
tubular neck. Dense white textured porcelain of
the K’ang-hsi period, invested with a character-
istic black enamelled ground. The four sides dis-
playing favourite flowering plants of the “four
seasons” (ssu chi-hua) rendered in varied tints
and growing amid rugged masses of moss-green
rocks, against the contrasting black enameled
body colour. Each vertical panel presenting a
special blossom symbolical of its season: the
peony (mu-tan) for Spring; lotus (lien-hua) for
Summer; the chrysanthemum (chit hua) for
Autumn and the white plum (mei hua) blossom
for Winter. The neck and four corners are fin-
ished by sprays of yellow lotus blossoms, white
cranes and emblematic ling-chih motifs. Bears an
apochryphal mark reading: Ta Ming Ch? eng hua
nien chih. (“Made in the reign of Ch’eng hua,
of the great Ming dynasty”) but ascribed to the
era of K’ang-hsi (1662-1722). Height, 20 inches.
Cut No. 8 presents a large blue and red flowered
vase, its tall oviform body tapering downward
to the base and with flaring neck, sustaining two
blue ascending dragon handles. Dense white Ta
Ming dynasty porcelain, with lustrous dark
“Mohammedan” blue underglaze decoration
broadly rendered, including deep copper red de-
tails. The body displaying scrolled underglaze
red stems that hang downward from the shoulder,
filled with blue foliage and carrying varied poly-

petulous flowers, like the peony, while other red-
pistiled blossoms appear in conventional forms to
represent the aster and wild prunus. The shoulder
sustains a bordering of blue and red gadrooning,
followed by a narrow band in floral details; whilst
the neck, encircled by a blue and red serrated leaf
palmation, is enriched by red plum tree motifs
with pale yellow buds. The base is surrounded
by a fanciful blue and white ju-i headed lanceola-
tion. Has a characteristic thick biscuit foot of
the Ta Ming dynasty. Height, 38J/2 inches. Era
of Wan-li (1573-1619).
Cut No. 9 depicts a large blue and white club-
shaped vase with fine cobalt-blue painting under
the pellucid glazing; presenting an imposing
clustering of mandarin (hua-niao) flower and bird
motif. The design including small flying birds and
a luan-chi or pheasant that is perched on a rockery
midst symbolical flowering trees, notably the
magnolia (yulan), the peony-like guelder roses
(hua wang), blossoms of the plum tree (mei-hua)
and peach tree (Cao hua). These blooming blos-
soms of propitious and pleasing omen are remark-
able for the accurate rendering in light and dark
shades of vibrant sapphire-blue tones,, accom-
panied by touches of the purest cobalt. The
neck is completed by a series of narrow lanceo-
lated, dentated and herring-bone bands. The
masterly composition is typical, and obviously
copied after one of the great Sung, or Yuan flower
painters. Height, 28 inches. Date: era of K’ang-
hsi (1662-1722).
It is impossible to do more than give a few
good illustrations here and to point out their
merits for the reader. The University Museum
in Philadelphia possesses many representative
examples that could aid in guiding its visitors.

no. 2


LXXVII