Chenghua Mark and Period Blue-and-White at the Museum of Oriental Ceramics, Osaka
Blue-and-White Bowl with Melon Design, Ming Dynasty, Chenghua Mark and Period, (1465-1487), d.15.5cm. Acc. No. 10682. Gift of SUMITOMO Group, the ATAKA Collection. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
There are few large blue-and-white wares from the Chenghua period, and vessels such as jars are also rare. The best known vessel type from this period is a bowl like this piece, known as the "palace bowl" in the West for its lovely form. Some bowls are decorated on the inside and outside, and others only on the outside. This bowl is unpainted on the inside and decorated on the outside with a oriental melon design. The brushwork is soft and delicate, and demonstrates the refinement of imperial Chenghua ware.
Blue-and-White Bowl with Hollyhock Design, Ming Dynasty, Chenghua Mark and Period, (1465-1487), d.14.6cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10786. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
The blue-and-white ware that developed in the Yuan dynasty reached its peak in the early Ming Yongle and Xuande periods. In contrast to the rhythmic and dynamic expression of blue-and-white ware in its golden age, Chenghua pieces show a softer, delicate feel. The clay is more refined, and the slightly cream-colored tone softens the white porcelain skin. The drawing lines of design are graceful, and the blue color is lighter. This kind of blue-and-white ware with refined grace is not known to have existed before the Chenghua period, and this bowl is one of the best examples to represent this era.
Blue-and-White Dish with Paired Phoenixes Design, Ming Dynasty, Chenghua Mark and Period, (1465-1487), d.18.6cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10856. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
This dish features two pairs of phoenixes, on the inside in the center and on the outside. The surrounding white area is filled in with a baox-iang-hua floral pattern. The clay is fine, the glaze has melted smoothly, the decoration is delicate, and the cobalt is light and refined, with no irregularities or blurring. There are few extant examples of porcelain from the Chenghua official kilns; only about 150 pieces exist in the world, including both blue-and-white and overglaze enamel decorated ware. In 1987, in the Jingdezhen remains of the warehouse for imperial ware, a layer from the Chenghua period was discovered, and a large number of porcelain shards was unearthed. Investigation of these shards revealed that they were broken after firing, indicating that they were discarded after failing to pass the inspection for quality. Counting only the foot rims unearthed, there were over 10,000 pieces, giving us an idea of the strict quality control practiced at official kilns. This dish, therefore, in one of the high quality piecer which passed a rigorous selection process.
Xuande Mark and Period Porcelains at the Museum of Oriental Ceramics, Osaka
Blue-and-White Jar with Baoxiang-hua Scrolls Design, Ming Dynasty, Xuande Mark and Period (1426-1435), h.35.8cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10885. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
This is a large jar with a tall neck rising to a wide mouth. The center section is decorated with baoxiang-hua scrolled flowers, the shoulder and base feature double lotus petals, and the neck has a scrolled cloud pattern. The cobalt blue is a deep color, and the lotus petal pattern which has been applied with a wide brush gives a particularly strong impression. In the Xuande period, the official kiln system was firmly established at Jingdezhen, and blue-and-white porcelain was the main ware produced there. From this time,works fired at official kilns were inscribed with the reign mark, as we see on this piece.
Porcelain Dish with Reversed Peony Decoration against Cobalt-Blue Glaze, Ming Dynasty, Xuande Mark and Period (1426-1435), h.38.7cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10801. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
There is a large design of a peony branch in the center of this dish, and pomegranates, peaches, and litchi in six places around the rim. On the exterior there is a peony scroll pattern. The details of each pattern have been incised. This dish was probably decorated by applying white slip to the decorated area, then glazing the rest with a blue glaze. The technique of decorating pots with a reverse white pattern against a blue background was already used in the Yuan dynasty, and there are examples of works decorated in this way in the Topkapi Palace. Recently, similar shards have been excavated at Zhushan in Jingdezhen city, and also at the remains of a residence of the Maeda clan, on the grounds of Tokyo University, Japan
Yongle Blue-and-White Porcelains at the Museum of Oriental Ceramics, Osaka
Blue-and-White Charger with Peony Design, Ming Dynasty, Yongle Period (1403-1424), d.44.7cm. Gift of SUMITOMO Group, the ATAKA Collection. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
The central field of this plate depicts, within double circles, two peonies freely interlaced by scroll-like stems. Nine types of fruit including litchies, pomegranates, loquats and vines are painted in spray style around the rim inside the dish, while the outer surface has pomegranates and scrolls. The inside of the foot rim on the base is left unglazed, revealing the compact material of the body. The work is a typical blue-and-white dish in the Yongle style.
Blue-and-White Charger with Bird and Branch Design, Ming Dynasty, Yongle Period (1403-1424), d.50.5cm. Gift of SUMITOMO Group, the ATAKA Collection.Acc. No. 10634. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
This large dish, with a diameter exceeding 50centimeters, was made using a mold and then fired skillfully to obtain an unwarped form. A delicate floral scroll graces the foliated rim. The sides of the dish are divided into 16 sections containing pomegranate, peach and other auspicious fruits. In the center, a magpie eats berries on a branch. The composition is spacious, and the brush work is both decorous and elegant, making this a typical example of early Ming dynasty pictorial design. Several other similar pieces are known to exist.
Blue-and-White Moonflask with Dragon and Wave Design, Ming Dynasty, Yongle Period (1403-1424), h.45.0cm. Gift of SUMITOMO Group,the ATAKA Collection. Acc. No. 10648. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
Exchange with the West was resumed during the Yongle period, and we can see the influence in the ceramics of the time. Islamic forms were produced with increasing diversity, and the resumption of the import of cobalt resulted in even brighter blue colors than before. This type of flask is one of the forms which appeared during this period. In the Topkapi Palace there is a similar flask with a silver lid from the 16th century. This flask features a large dragon in white against a painted blue background. The eyes of the dragon are blue cobalt dots, and its details have been incised into the clay surface. The wave scrollwork of the background is deep blue, and the color has run in the way unique to blue-and-white ware of the Yongle period. Similar shards have been excavated at Zhushan in Jingdezhen city.
Blue-and-White Covered Meiping with Inscription of Neifu (Imperial Court), Ming Dynasty, Yongle Period (1403-1424), h.34.0cm, 33.2cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10778. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics,Osaka.
These pure white meiping vases are undecorated except for the blue inscription on the shoulders which reads "neifu". The simple brilliance of these vessels seems fit for a ware reserved for the use of the imperial court. The graceful swell of the shoulders of these meiping, together with the bold calligraphy, overflows with strength and an air of refinement. The lid with a bud-shaped knob on the top has a cylindrical support on the inside that snugly fits the mouth of the meiping. An excellent sense of design can be felt in the smart elegance that is achieved when the lid is placed on the meiping.
Blue-and-White Moonflask with Lizhi (Citrus) Design, Ming Dynasty, Yongle Period (1403-1424), h.25.0cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10855. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics,Osaka.
The long, narrow, small mouth adds tension to the entire shape of this flask. In turn, this tension is broken by the cloud-shaped handles between the mouth and the shoulders. The round flat body expresses a gentle, graceful curve. This type of early Ming blue-and-white flask is rare, and only a few pieces exist in Japan. The front and back of the body carries the unusual design of a spray of litchi. Wave patterns decorate the shoulders and the lower part of the body, and a plantain leaf pattern wraps around the mouth. Some bleeding of the glaze can be observed, but the overall decoration is full of elegant pictorial expression, typical of the early Ming dynasty, and a gentle air can be felt from this piece.
Blue-and-White Ewer with birds on a Branch Design, Ming Dynasty, Yongle Period (1403-1424), h.33.7cm. Gift of SUMITOMO Group, the ATAKA Collection. Acc. No. 10893. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics,Osaka.
This piece is a typical example of an ewer in sensanpin-style. An arabesque design graces the spout, shoulders and foot. A band of plantain leaves surrounds the neck, and the lower part of the body is decorated with a band of lotus petals. The motifs are characteristic of the early 15th century. The main motif of two small birds perching on a flowering branch, with its graceful brushwork, bears witness to the excellent pictorial expression of the early Ming dynasty.
Hongwu Period Porcelains at the Museum of Oriental Ceramics, Osaka
Porcelain Charger with Underglaze Copper-Red-Painted Peony Design, Ming Dynasty, Hongwu Period, 1368-1398, d.45.5cm. Acc. No. 10482. Gift of SUMITOMO Group, the ATAKA Collection. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka
The technique of decorating pots with underglaze copper pigment first appeared in the Yuan dynasty. A particularly large amount was produced in the Hongwu period, and the forms and decorative patterns of such ware are similar to those of blue-and-white ware. During this period, private overseas trade was banned, causing a shortage of cobalt pigment. To compensate for this shortage, copper pigment was used instead of cobalt. Copper, however, is unstable as a colorant, and the works fired in this period came out in a variety of colors. Only the peony flowers in the center of this dish are a vivid red, while the baoxiang flowers on the inside and the wave scrolls around the rim are a pale color. Recently, large amount of Hongwu style porcelain shards have been excavated from a site at Zhushan, Jingdezhen city.
Blue-and-White covered meiping with Dragon among Clouds Design, Ming Dynasty, Hongwu Period (1368-1398), h.36.6cm. Gift of Mr. TOHATA Kenzo. Acc. No. 11265. The Museum of Oriental Ceramics, Osaka. © 2009 The Museum of Oriental Ceramics, Osaka.
The form of this vase is what is called meiping, but the shape differs from that found in Yuan blue-and-white wares. The powerfully swelling shoulder slopes sharply down, then flares towards the bottom. The inside of the base is carved out leaving a thick wall. There is a lid with a "sacred jewel" shaped knob that fits over the high mouth of the body. Instead of a decorative band, the design depicts a five-clawed dragon over the upper part of the body, while magic fungus-shaped clouds encircle the lower part. Sherds of plates bearing a cobalt-blue design of magic fungus-shaped clouds have been unearthed at the site of the Hongwu court in Nangjin, confirming that the example shown here may be dated to the Hougwu reign of the early Ming dynasty. The shoulder bears the auspicious characters ''chun shou'' in the so-called seal script style. Similar items are found in the Shanghai Museum and elsewhere.
The Yongle Emperor of China died on this day in 1424.
This red lacquer dish made during his reign will feature in Ming 50 Years at British Museum
Ye Hongxing's works at ART LEXÏNG
Ye Hongxing, Misty No.3, 2010. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Misty No.5, 2010. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Misty No.21, 2011. Oil on canvas, 47 1/5 × 47 1/5 in, 120 × 120 cm. Price: $10,000 - 15,000.
Ye Hongxing, Misty No.29, 2011. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Brilliant Color Love Infactuation, 2009. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Osmosis No.1, 2009. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Illusion No.4, 2010. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
Ye Hongxing, Illusion No.2, 2012. Oil on canvas, 59 1/10 × 59 1/10 in, 150 × 150 cm. Price: $10,000 - 15,000.
CONTACT GALLERY: ART LEXÏNG. Miami : +1 305 299 9732
Photos courtesy Ye Hongxing and ART LEXÏNG
Ye Hongxing. Born in 1972, Ye Hongxing has become one of the most exciting rising stars of the Chinese contemporary art scene.
Ye Hongxing obtained her Master’s Degree from the Central Academy of Fine Arts in Beijing (arguably China’s top art academy) in 1998.
Between 2003 and 2005, Ye’s work was exhibited at a few galleries throughout China, as well as the Chongqing Art Museum and the Nanjing Museum of Contemporary Art. In 2004, Ye Hongxing participated in her first international art exhibition at the 7th Annual Exhibition of Sculptures and Installations in Venice, Italy. The next year, Ye Hongxing’s work was exhibited in Taiwan at Art Taipei 2005.
In 2006, Ye Hongxing was selected as one of China’s top 20 emerging painters at the Dragonair Emerging Chinese Artist Awards. The selection committee included the Director of Art Cologne, the Curator of the San Francisco Asian Art Museum, the Director of the Stuttgart Museum of Art in Germany, the Co-Founder and Co-Editor in Chief of Beaux-Arts Magazine (France’s top art magazine) and the Executive Director of the Shanghai Art Museum, amoung others.
In 2007 and 2008, Ye Hongxing’s works were exhibited in Europe for the first time at the Art Cologne, the earliest established and still one of the most important art expositions in the world. Ye’s work was also shown for the first time in the USA in Miami at Reed Savage Gallery in 2007 and in New York at “Chinese Contemporary Art Comes to New York” at Art Scene New York.
Tanzanite jewellery
Tiffany Peacock pendant featuring diamonds, aquamarines and a central tanzanite.
Tiffany Anniversary platinum necklace, set with over 175ct of tanzanites, complemented by a cascade of round brilliant diamonds.
Tiffany Anniversary platinum ring with a 9.99ct tanzanite and diamonds.
Arunashi handmade reverse tanzanite ring with diamonds. Available at Ylang23.com.
Available at Ylang23.com, Arunashi's white gold ring features a total of 29ct of inverted tanzanite stones scattered amongst 4.36ct of diamonds.
Chopard high jewellery earrings featuring pear shaped tanzanites surrounded by white gold set with diamonds.
Chopard Temptations necklace featuring tanzanite beads, diamonds, sapphires and amethysts all set in white gold.
Tanzanite. One African Night ring with a violet-toned tanzanite surrounded by a pavé of diamonds.
Tanzanite. One Empress earrings showcasing over 50 blue-violet tanzanite stones.
Pomellato Pom Pom rose gold and tanzanite bracelet.
Theo Fennel Tanzanite Heart necklace featuring a rare 12.74ct 'Meru' blue tanzanite, spinels, diamonds and a freshwater pearl.
This Theo Fennell ring is skilfully carved from the tusks of a long-extinct Mammoth. The 6.52ct tanzanite, set in white gold, is framed by 0.22ct of diamonds.
Chaumet Lumieres d’Eau high jewellery necklace in white gold with a 45.64ct troidia-cut tanzanite, three cushion-cut sapphires, sapphires, sapphire beads, lapis lazuli beads and black spinel beads.
Chaumet Lumieres d’Eau high jewellery ring in white gold, set with a 16.50ct troidia-cut tanzanite, round sapphires, lapis lazuli and brilliant-cut diamonds.
Wallace Chan's Whimsical Blue brooch, from the Fluttery series, features three tanzanites set with diamonds, carved icy jadeite, lapis lazuli and sapphires.
Irene Neuwirth cabochon tanzanite bracelet in rose gold, available at Ylang23.com.
A greyish-white and black jade carving of a cat, Ming dynasty, 17th century
A greyish-white and black jade carving of a cat, Ming dynasty, 17th century. Photo Christie's Image Ltd 2008
Carved from the natural pebble form as a recumbent cat wrapped in a long cloth tied in a bow at its back, its eyes wide open in an intent gaze above its long whiskers, with its head resting on its front paws and its long tail flicked up onto its back, the stone of a mottled greyish-white color with some black inclusions; together with a small agate carving, 18th/19th century, in the form of a conch shell on a lotus leaf carved from the translucent mottled green portion of the stone, the reverse with a small bird grasping a leafy sprig in its mouth; 2 3/8 and 1 7/8 in. (6 and 4.8 cm.) long (2). Estimate $4,000 - $6,000. Price Realized $5,000
Provenance: The cat: Robert Hall, London, 5 April 1979.
The agate shell: Hugh M. Moss, Ltd., London.
Christie's. FINE CHINESE CERAMICS AND WORKS OF ART. 17 September 2008, New York, Rockefeller Plaza.
A carved pale green jade peach-form libation cup, Ming dynasty, 17th century
A carved pale green jade peach-form libation cup, Ming dynasty, 17th century. Photo Christie's Image Ltd 2008
Borne on a small curled leafy branch extending around the sides of the cup bearing a peach and floral spray and continuing to the rim where a horned dragon has curled itself around the branch and clings to the rim between two further blossoms; 4½ in. (11.4 cm.) long, metal spoon, Japanese wood box. Estimate $5,000 - $7,000. Price Realized $5,625
Christie's. FINE CHINESE CERAMICS AND WORKS OF ART. 17 September 2008, New York, Rockefeller Plaza.
A Longquan celadon bronze-form tripod censer, Yuan-Early Ming dynasty, 14th-15th century
A Longquan celadon bronze-form tripod censer, Yuan-Early Ming dynasty, 14th-15th century. Photo Christie's Image Ltd 2008
The compressed globular body raised on four cabriole legs, with a pair of applied D-shaped handles flanking the short neck and joining the shoulder to the edge of the everted rim, covered overall with a glaze of sea-green color, a central aperture in the base surrounded by the remains of a kiln support on the interior and the surrounding unglazed ring on the base burnt orange in the firing; with a Meiji period parcel-gilt pierced cover finely cast and chased with numerous insects amidst flowers and foliage; 6 in. (15.2 cm.) across handles, box. Estimate $6,000 - $8,000. Price Realized $7,500
Christie's. FINE CHINESE CERAMICS AND WORKS OF ART. 17 September 2008, New York, Rockefeller Plaza.
