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A SUPERB BLUE AND WHITE 'FLORAL' JAR AND COVER, LIANZI GUAN, TRANSITIONAL PERIOD, CIRCA 1630-1650
奥地利
2025年10月16日 开拍
拍品描述
China, mid-17th century. Thickly potted, the ovoid body supported on a tall straight foot and rising to a broad cylindrical neck, the exterior finely painted in shades of cobalt-blue with butterflies and insects amid sprays of peony, camellia, hibiscus, and lotus as well as scattered sprigs of bamboo, lingzhi, and aster, all framed by line borders below a band of pendent stiff leaves at the neck, the domed cover similarly decorated with bees amid peony and bamboo.Provenance: Property from the Stilte-Stichting Landgoed Den Bosch Collection, acquired by Dionysia Everwijn and thence by descent. The base lacquered with an old inventory number, 'BR 6619', and the base and cover each with a label inscribed 'BR 66-A' and 'BR 66-B', respectively. Dionysia Wilhelmina Everwijn (1923-2011) was a Dutch amateur painter, art collector, and the owner of Den Bosch, a country estate in Leuvenheim near Brummen that dates back to around 1600 and where her family had lived in since 1866.Condition: The jar in overall excellent condition with minor old wear and firing irregularities including minor pitting, dark spots, glaze recesses, and small firing cracks. The foot with chips as visible on our images.The cover with a shallow chip, two small hairlines, and a crack extending from the rim and terminating in a curve near the opposite side, with two associated minute losses and stabilized with two old rivets.Weight: 3,144 g Dimensions: Height 27 cmBy the early seventeenth century, the Ming dynasty was faltering under both internal unrest and external threats from the rising Manchu power. After the death of the Wanli Emperor in 1620, imperial patronage of the Jingdezhen kilns declined sharply, leaving potters to rely on private enterprise. This shift ushered in what is now known as the 'Transitional period' (ca. 1620-1683), a time of great creativity and experimentation in porcelain production. Freed from the rigid demands of the court, artisans diversified their output for new patrons at home — including scholars and wealthy urban collectors — as well as for lucrative export markets in Japan, Europe, and beyond. In this context of political turbulence but artistic freedom, the ceramics of the Transitional period stand out as some of the most innovative and dynamic in Chinese history.The lianzi guan (lit. 'lotus jar') is so named for its resemblance to a lotus seed. This vase form is unique to the Transitional period, emerging at a moment when Jingdezhen potters experimented boldly with new silhouettes for a growing domestic and international clientele. Its broad, rounded body provided an ideal surface for expansive narrative scenes, landscapes, or abstract ornament, which became hallmarks of the era's porcelain. As a form that appears suddenly in the early seventeenth century and disappears just as quickly under the Qing, the lianzi guan serves as a signature vessel of the Transitional period — embodying its spirit of innovation, experimentation, and responsiveness to a changing world of taste and trade.Auction result comparison: Type: Near identical Auction: Christie's Amsterdam, 24 May 2006, lot 118 Price: EUR 9,000 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing : A Transitional blue and white oviform jar and cover, mid-17th century Expert remark: Compare the form, decoration, and motifs. Note the size (29.5 cm).

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拍品估价:3,000 - 6,000 欧元 起拍价格:3,000 欧元  买家佣金:

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