细节
A BLUE AND WHITE PORCELAIN DISH
CHOSON DYNASTY (15TH CENTURY)
The flat, thinly potted, porcelain dish with raised and everted narrow rim and set on a very short ring foot enclosing a slightly recessed base, painted in the well in underglaze cobalt blue with Chinese-style scrolling floral arabesques surrounded by a narrow band of stylized, undulating waves, painted in underglaze blue on the underside with a ring of eight symbols, a mixture of the "eight Buddhist emblems" and the "eight precious things", a x-shaped potter's mark incised in the recessed base- 8 1/2in. (21.9cm.) diameter
CHOSON DYNASTY (15TH CENTURY)
The flat, thinly potted, porcelain dish with raised and everted narrow rim and set on a very short ring foot enclosing a slightly recessed base, painted in the well in underglaze cobalt blue with Chinese-style scrolling floral arabesques surrounded by a narrow band of stylized, undulating waves, painted in underglaze blue on the underside with a ring of eight symbols, a mixture of the "eight Buddhist emblems" and the "eight precious things", a x-shaped potter's mark incised in the recessed base- 8 1/2in. (21.9cm.) diameter
出版
Koyama Fujio et al., Korean Ceramics of the Yi Dynasty in Sekai Toji Zenshu, Vol. 14, (Tokyo: Kawade Shobo, 1956), pl. 96;
Akaboshi Goro and Heiichiro Nakamura, Five Centuries of Korean Ceramics--Pottery and Porcelain of the Yi Dynasty (Tokyo and Kyoto: Weatherhill and Tankosha, 1975), fig. 84;
Hoam Museum, Exhibition of Choson White Porcelain II (Seoul: Samsung Art and Culture Foundation, 1985), no. 13, p. 44;
Itoh Ikutaro, Richo no sara, Porcelain Dishes in Choson Dynasty, Korea (Osaka: Museum of Oriental Ceramics, 1991), fig. 2, p. 3.
This exceptionally rare and beautiful dish is a product of the earliest period of Korean blue and white porcelain, when the influence of Chinese forms and motifs was still very strong. Evidence that blue and white ware was being produced in Korea in the 15th century can be found in a document written in 1464 which states that Korean domestic blue cobalt was being used for underglaze painting because there was a shortage of Chinese pigments. In addition, a Korean official document dated 1481 states that artists from the Academy of Painting frequently painted on porcelain made for the royal house.
Akaboshi and Nakamura state that this dish is from the Doma-ri kiln in Kwangju, Kyonggi Province. Examples of sherds excavated from this site in 1986 are illustrated in Itoh, p. 3 and another sherd from this site is on display at the Idemitsu Museum, Tokyo. These sherds are similar in shape, glaze and decoration to the present dish. The form and cobalt blue decoration are clearly based on Chinese models from the Yongle (1403-24) and Xuande (1426-35) periods but the flower pattern is closer to Chinese examples from the Chenghua period (1465-87). For a Chinese dish dated early 15th century painted on the underside with the "eight jewel"/"eight precious things" motif in the collection of the Topkapi Saray Museum, Istanbul see Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, fig. 595.
A similar dish in the Ataka Collection has been published widely, most recently in Itoh Ikutaro and Yutaka Mino The Radiance of Jade and the Clarity of Water--Korean Ceramics from the Ataka Collection (New York: Hudson Hills Press, 1991), no. 76, p. 112. Both dishes have in common the x-shape kiln mark incised on the base, the scrolling flower pattern and Buddhist "eight-jewel" motif, although the border and size of the Ataka example differ slightly. For another 15th-century dish in the Dewazakura Collection with a very similar wave design around the rim and with similar Buddhist motifs around the base see Yamagata Bijutsukan, Dewazakura Korekushon: Richo Kogei [Dewazakura Collection: Yi Dynasty Decorative Arts] (Yamagata: Yamagata Bijutsukan, 1987) and Itoh, pl. 1, p. 4. Itoh also illustrates several other dishes of similar shape but with either calligraphic or with non-geometric designs that are now thought to date from the early 16th century (Itoh, pls. 2, 3, 4).
Akaboshi Goro and Heiichiro Nakamura, Five Centuries of Korean Ceramics--Pottery and Porcelain of the Yi Dynasty (Tokyo and Kyoto: Weatherhill and Tankosha, 1975), fig. 84;
Hoam Museum, Exhibition of Choson White Porcelain II (Seoul: Samsung Art and Culture Foundation, 1985), no. 13, p. 44;
Itoh Ikutaro, Richo no sara, Porcelain Dishes in Choson Dynasty, Korea (Osaka: Museum of Oriental Ceramics, 1991), fig. 2, p. 3.
This exceptionally rare and beautiful dish is a product of the earliest period of Korean blue and white porcelain, when the influence of Chinese forms and motifs was still very strong. Evidence that blue and white ware was being produced in Korea in the 15th century can be found in a document written in 1464 which states that Korean domestic blue cobalt was being used for underglaze painting because there was a shortage of Chinese pigments. In addition, a Korean official document dated 1481 states that artists from the Academy of Painting frequently painted on porcelain made for the royal house.
Akaboshi and Nakamura state that this dish is from the Doma-ri kiln in Kwangju, Kyonggi Province. Examples of sherds excavated from this site in 1986 are illustrated in Itoh, p. 3 and another sherd from this site is on display at the Idemitsu Museum, Tokyo. These sherds are similar in shape, glaze and decoration to the present dish. The form and cobalt blue decoration are clearly based on Chinese models from the Yongle (1403-24) and Xuande (1426-35) periods but the flower pattern is closer to Chinese examples from the Chenghua period (1465-87). For a Chinese dish dated early 15th century painted on the underside with the "eight jewel"/"eight precious things" motif in the collection of the Topkapi Saray Museum, Istanbul see Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. II, fig. 595.
A similar dish in the Ataka Collection has been published widely, most recently in Itoh Ikutaro and Yutaka Mino The Radiance of Jade and the Clarity of Water--Korean Ceramics from the Ataka Collection (New York: Hudson Hills Press, 1991), no. 76, p. 112. Both dishes have in common the x-shape kiln mark incised on the base, the scrolling flower pattern and Buddhist "eight-jewel" motif, although the border and size of the Ataka example differ slightly. For another 15th-century dish in the Dewazakura Collection with a very similar wave design around the rim and with similar Buddhist motifs around the base see Yamagata Bijutsukan, Dewazakura Korekushon: Richo Kogei [Dewazakura Collection: Yi Dynasty Decorative Arts] (Yamagata: Yamagata Bijutsukan, 1987) and Itoh, pl. 1, p. 4. Itoh also illustrates several other dishes of similar shape but with either calligraphic or with non-geometric designs that are now thought to date from the early 16th century (Itoh, pls. 2, 3, 4).