Chinese porcelain blue and white Kraak saucer dish of petal-shape with eight lobes, painted in the centre with a standing dignitary and his attendant in an exterior scene beside the wall, beneath a willow branch and between rockwork and stylised clouds, encircled by panels of flowers and fruits including pomegranate and peach.
Chinese porcelain blue and white moulded Kraak saucer dish painted in the centre with a stylised flowerhead medallion with a bird perched on rockwork, amongst flowering camelia and other plants, encircled by ten petal-shape moulded medallions of aster between different panels of precious objects including scrolls and music stones.
Chinese porcelain blue and white moulded Kraak saucer dish painted in the centre with a grasshopper perched on rockwork amongst flowering camelia and daisies, encircled by ten petal-shape moulded medallions of aster between different panels of precious objects including scroll, leaf and gourd.
A Chinese porcelain blue and white Kraak kendi in the form of a seated elephant with its head raised, the pierced tusks forming the spout, with tall cylindrical flared handle for filling set on its back above a moulded ruyi-edged saddle, the saddle cloth with central ruyi-head with tassels, scrolls and cash diaper ground, with moulded tail, pendant tassels, the handle painted with a bird perched amongst prunus branches, the flat base unglazed.
Chinese porcelain blue and white Kraak saucer dish of petal-shape form with eight lobes, painted in the centre with two fishermen in boats and two scholars on a rocky promontory in a river landscape scene, with a seven-tier pagoda in the distance within a walled town, encircled by a border with ruyi-heads and ruyi-shape panels of the wheel of law and pendants, the underside with birds perched on branches and insects in flight.
Chinese gold-splashed small vase of hu form with two mask handles between an incised keyfret band, all on a slightly everted foot with flat rim, decorated overall in bright gold splashes.
Chinese porcelain blue and white and underglaze copper-red thinly potted shallow bowl, painted on the interior with a central flowering lotus plant with leaves, bud and arrowhead, surrounded by sprays of prunus, lily and chrysanthemum, beneath a single underglaze blue line at the rim, the exterior with two stylised branches beneath two rings at the rim, the base with a six-character mark of Xuande within a single ring.
Chinese porcelain blue and white ‘reticulated’ stem cup, the exterior painted with five chilong dragon medallions, set between wan-character fretwork, the background unglazed beneath a band of octagonal stylised flowerheads at the rim, and above crested waves, rockwork and pearls on the everted foot rim, the well of the interior with a leaping carp medallion amongst crested waves and flames, within two underglaze blue lines repeated on the inner rim, the base with a four-character mark of Chenghua within a double square.
Chinese porcelain blue and white octagonal bowl with pierced ‘reticulated’ roundels on each facet in pairs of honeycomb, wave, fretwork and cash, set within trapezoid windows, above a scroll and pearl pattern above a keyfret band, the interior glazed white, the base and foot rim unglazed.
Further information on 明代及早期器物
Early Ming dynasty ceramics took inspiration from the intricate but busy Islamic styles of the outgoing Yuan Mongols but it wasn’t long before the Han started to exert their own influences on design. From the 15th century onwards, Ming porcelain decoration became more subtle and restrained but as demand grew from Japan and Europe, it once again became more elaborate. It was one of China’s major exports and was often exchanged for Spanish silver. By the sixteenth century, Ming dynasty porcelain included vibrant colours such as blues, reds, greens and yellows.By the late sixteenth and early seventeenth centuries, it was becoming increasingly common for producers of Ming pottery and Ming porcelain to add imperial reign dates to their wares and there started a trend for artists to sign their wares. A signature on a Ming vase of one of the most highly respected Ming dynasty porcelain artists could dramatically affect its price, such was the reputation of some of the artisan craftsmen of the era, not unlike the European painters of the day.