FLORA & FAUNA
动植物
dòng zhí wù
plants and animals; flora and fauna
The term 动植物 (dòng zhí wù) means “flora and fauna” or “plants and animals” in Chinese. It is often used to discuss ecosystems, biodiversity, or the appreciation of nature in general. Here’s how it ties into Chinese culture and sayings:
Cultural Significance
1. 动 (dòng) refers to “movement” or “living beings,” representing animals.
2. 植物 (zhí wù) specifically means “plants,” emphasizing their growth and stillness compared to animals.
FLORA & FAUNA
INTRODUCTION
As we step into 2025, we take a moment to reflect on the passing of Neeltje van der Ven last summer. Neeltje was not only a beloved aunt, but also one of the founders of our company. At the age of 84, she left this world to be reunited with Clemens, her partner in love, life and Vanderven Oriental Art. Neeltje’s presence is greatly missed - not only her visits to fairs in Amsterdam and Maastricht, but also her impromptu stops at the gallery. She was always energetic, brimming with insightful views on market trends, passing us valuable snippets of company history or admiring our latest acquisitions - all of which captivated her interest until her final days. Her spirit lives on and we are profoundly grateful for all she taught us - lessons that extended far beyond the realm of oriental art.
Neeltje and Clemens have also left an incredible tangible legacy: their home, with its extensive collection of Chinese and Japanese art and their Asian art reference library. It has all been entrusted to the Huizinghe de Loet Foundation. This remarkable house, located just five minutes from our gallery, is open to anyone with a passion for Chinese and Japanese art, decorative arts from ’s-Hertogenbosch and Dutch colonial furniture.
The art world today remains vibrant, with strong demand for Chinese antiques across Europe, America and Asia. As dealers, we see ourselves as temporary custodians of these remarkable treasures, breathing new life into them. Every piece we handle is meticulously examined, researched and understood -
its history unravelled and its beauty cherished. For us, these objects are like dear friends, deserving of our full attention as we work to uncover their stories. Our clients share this sentiment, acquiring objects that resonate with them on a personal level and becoming their next caretakers. These treasures are not only admired but also integrated into their daily lives, offering inspiration and joy. Luckily, when one object leaves our collection, we also enjoy searching for new treasures to replace them.
This year, we are delighted to present a catalogue centred around the theme of Flora and Fauna. Featuring 20 carefully curated objects, thoroughly researched by Nynke, each with a wonderful story to tell. We invite you to join us in exploring the natural and animal worlds, seen through the eyes of the Chinese craftsmen who made them.
Floris & Nynke van der Ven
Vanderven Oriental Art
The Netherlands
Tel. +31 (0)73 614 62 51 info@vanderven.com www.vanderven.com
FLORA & FAUNA IN CHINESE ART
NYNKE VAN DER VEN
Nature has always been a major inspiration in Chinese art. Plants, flowers, fruits and animals were not just admired for their beauty but also held hidden meanings, rebuses and puns for the Chinese viewer - adding depth and significance to the artworks on which they are depicted. These motifs appeared not only in the decoration on the objects, but also in their shapes and designs. In Chinese art, the depiction of flora and fauna reflects the Daoist fascination with nature, the Confucian ideals of moral conduct and the Buddhist ideas of spiritual growth and enlightenment. Sometimes there are even elements involving all three beliefs.
DAOIST HARMONY WITH NATURE
A deep connection to nature is at the heart of Daoist philosophy, which encourages aligning with the natural world to achieve balance and harmony (yin/yang). This belief is often reflected in shapes and decoration of artworks. For instance, the shape of a vase might echo the curves of a gourd, symbolizing abundance, or a bowl might be modelled after a lotus flower, representing purity and renewal. Bamboo, an often recurring motif in Chinese art, symbolizes strength through flexibility - it bends but doesn’t break, embodying resilience and adaptabilityvirtues central to Daoism. Animals also carry Daoist meanings, such as serpents, associated with transformation and the flowing forces of nature, symbolizing life’s cycles and constant change. This reflects the Daoist belief in finding peace by aligning with the rhythms of the natural world.
CONFUCIAN VALUES
Confucianism is based on the belief that balance and harmony in life can be achieved by outstanding moral conduct, study, personal virtue and filial piety. Plants
and animals often embody these Confucian ideals. The pine tree, which remains green even in harsh winters, symbolizes perseverance and moral integrity - qualities valued in an upright person. The crane, representing loyalty and longevity, reflects devotion to family and an enduring commitment to principles. The mandarin duck, commonly depicted in pairs, symbolizes marital harmony and fidelity, aligning with Confucian ideals of family unity. These motifs were often used on objects given as gifts for special occasions, carefully chosen to convey the right message and reinforce societal values of respect, order and harmony.
BUDDHIST SPIRITUALITY
Buddhism’s influence on Chinese art is evident in the symbolic use of nature to express spiritual growth and enlightenment. The lotus flower, a central Buddhist symbol, frequently appears in ceramics and decorative arts. Growing from muddy waters yet blooming in pristine beauty, the lotus represents purity, spiritual awakening, and transcendence. The white elephant, another significant motif in Buddhist art, is associated with the deity Samantabhadra and symbolizes wisdom, strength and peace. These symbols often encourage viewers to reflect on their spiritual journeys and seek inner enlightenment.
For modern audiences, learning about the hidden meanings behind these motifs adds a new layer of appreciation to Chinese art. For centuries, Western viewers admired these objects primarily for their exotic beauty and exquisite craftsmanship, often overlooking their deeper significance. Yet, whether it’s a dragon swirling among peonies, a pair of mandarin ducks gliding on water, or a dish shaped like a lotus leaf, these works come alive when we understand the stories and philosophies they represent.
An exceptional archaic bronze drum stand with three coiled serpents.
China, Eastern Zhou Dynasty (770-256 BC)Warring States Period (475-221 BC)
H: 37 cm | Ø: 71 cm
PROVENANCE
Lam Collection, Hong Kong 2013 With Vanderven Oriental Art, 2014
A.W. Collection, 2023
TESTED
TL-Tested by Oxford Authentication (Core) | TL-Tested Ciram | X- Rays | Scanning Electron Analysis Report Ciram
1 | Serpents
An exceptional archaic bronze drum stand, adorned with three coiled serpents on a high circular base. The large repoussé serpents, their scales worked in low relief, spiral around a flattened top; their three-dimensional necks rising up, their heads resting against a high tubular opening. Various small exotic beasts and mythological creatures adorn the high vertical sides, several also crouch around the foot of the central cylinder. An interesting array of animals are depicted - such as a boars, bears, crocodiles, bats and monkeys –which are all modelled in high relief. The creatures around the high side, are placed against a background of a stylised pattern of intertwined serpent dragons. Three sturdy ring handles for carrying the stand, hang from toatie masks. The impressive size and intricate decoration of this bronze, show it was intended for a conspicuous display of wealth and finery in an age of competing courts.
This particular object would have served as a sturdy base for a wooden pole with a horizontally mounted barrel drum (jiangu), played by a standing musician using two sticks. The stand was made using a highly sophisticated piece-mould casting technique, allowing for an incredible degree of detail. This method reflects the enormous skill and knowledge of the craftsmen at the time, as well as clear evidence of plentiful supply of the metals needed for its production. Comparable examples found in tombs from the same period in the Yangzi region, indicate that these elaborate drum stands, were interred with only the most powerful rulers, their consorts or influential officials - in accordance with their high status in life.
Typical musical ensembles of this period generally comprised of bells, chimes and an upright pole drum. We know this, as such entertainment groups are also engraved on contemporary Eastern Zhou vessels.
A very complete and elaborate set of musical instruments, including an impressive drum stand with writhing serpents, was discovered in the renowned tomb of the Marquis Yi of Zeng (c.433 BC) in Hubei province. It is thought that these upright drums were additionally used as war drums, to signal troops and raise moral.
Several known manuals relating to rituals in the Eastern Zhou dynasty, were written towards the end of the Warring States period (475-221 BC), these include the Book of Rites (Liji 礼记), the Rites of Zhou (Zhouli 周记) and the Book of Etiquette and Rites (Yili 仪礼). They all mention the importance of ritual activities as a means to ensure harmony within the society, stating the importance of specific music accompanying these rituals. Music was thought to be essential for restoring social and political order, as well as pleasing the ancestors and gods. Therefore performing harmonious ritual music, must have played a vital role in court ceremonies to appease the gods and high ranking burials to ensure a benevolent effect into the afterlife. Music also conveyed cultural refinement and was regarded as an essential part of life and the art of government, perhaps also softening formalities arising from the prescribed rituals.
The Serpent (she), is perceived as a mysterious creature, which has been represented in Chinese art since Neolithic times. Occurring as a motif on art in southern China during the Eastern Zhou dynasty, its depiction appears to be of emblematic significance. Snakes were considered to be symbols of renewal and metamorphosis, due to their ability to shed their skin. This regenerative aspect linked them to ideas of immortality and continuous growth, both of which were important in early cosmological views, later linked to Daoism.
LITERATURE
Amsterdam 2024, p.56-58
Eberhard 1988, p.268-269
Eskenazi 2000, p.20-25
Jacobson 2013, p.48 & 49
Lai & Mok 1985, p.17
Rawson 1987, p.50-51 & 83, nr.27
Rawson 2007, p.68, fig.40
Rawson 2009, p.52-59, nr.3
Sterckx 2002, p.177-8
Thrasher 2000, p.17
Watson 1995, cover & fig.122 & 123
Williams 2006, p.347-8
Zhang 2022, p.50 & p.144-156, nr.73
They were also associated with protection and wisdom, particularly the ability to see hidden truths or navigate difficult situations. These reptiles, could also be a symbol of earthly power, often combined with a bird symbolising heavenly power. Viewed as moving smoothly between land and sea, as well as the realms of the earth, heaven and the underworld, these creatures were related to finding divine knowledge. Weaponry from the Warring States period also features serpentine motifs, indicating these animals may also be linked with military prowess and cunning in battle - traits that were certainly important during this troubled period. Snakes were certainly always regarded with awe, not only because of their potential danger, but especially due to their powers and close kinship to the dragon. Of course, the snake is now best known as being the sixth creature of the Chinese zodiac.
There are only a small number of comparable drum stands in existence. A very similar one, also cast with three serpents, can be found in the collection of the Shanghai Museum. A stand decorated with two coiled mythological dragon-snakes, was exhibited by Eskenazi (New York) in 2000. The elaborately worked drum stand with a multitude of writhing serpents, from the tomb of the Marquis Yi of Zeng, was recently exhibited at the Asian Art Museum, San Francisco. A wood and lacquer stand for a suspension drum, depicting two cranes standing on coiled snakes, is in the collection of the Cleveland Museum of Art (acc.nr. 1938.9).
China, Chu State, Warring States Period (475-221 BC)
H: 99 cm
PROVENANCE
Purchased in Hong Kong, 1980’s
Private Collection, The Netherlands 2024
TESTED
Carbon test - Groningen University 2019
LITERATURE
Amsterdam 1974, p.31 nr.21, p.87
Cook & Major 1999
Jenkins 2005, p.22-23, p.54-55
Rawson 2007, p.136-137, fig.87 & 89
Watson 1995, cover & p.61-62 fig.122 & 123
Zhang & Shu 1997, p.58 fig.6, p.64 fig.76, p.66-67 fig.79
Zhang 2022, p.146-7 nr.75, p.186-7 nr.121
2 | Phoenix & Tiger
A carved and painted wooden figure of a phoenix standing on the back of a crouching tiger. The various parts of the sculpture - head, legs and antlers -fit into carved holes in the bird’s torso to create the composition. The phoenix’s head arches back, beak slightly open. Its elongated neck runs down to a square body supported by long stilted legs. Two antlers are slotted into its back, which are painted with a geometrical pattern in black. On each side of the body is a protruding wooden square, which may indicate it may have had separate wooden wings, now lost. The phoenix and the tiger both have the original geometrical patterns painted on the body in red pigments. If we look at other similar objects from the same period, we can note that this may have been one of a pair of phoenixes for holding a suspension drum. The slender proportions and seemingly the fragile structure of the bird, raises the question of whether it was utilitarian or had a symbolic function in a tomb.
The Chu State was one of the most important Kingdoms in Southern China, during the Eastern Zhou Dynasty (770-256BC). It reached its zenith of power in the 4thcentury BC, when its territories spanned a vast area along the Yangxi River - from the sea in the East to the edge Sichuan basin in the West. Although influenced by neighbouring kingdoms, it had very distinct cultural, religious and literary traditions. For hundreds of years, their existence was largely forgotten, most of their records destroyed or lost. From the discovery and study of luxurious tombs of the Chu rulers, this magnificent culture has once again come to life. Through the recovered artefacts, we can truly appreciate the artistic significance of this lost kingdom and its unique culture.
If the imposing bronze bells and chime stones represented the solemn ritual music of the contemporary Northerly Zhou court; then the lighter wooden drums and lacquer zithers reflect the charm of the more pleasing rhythms and melody of the Southern Chu court. Standing suspension drums are one of the iconic instruments of their culture, unique to the luxurious Chu tombs that have been found.
It is clear that music was not only for entertainment, but must have formed an essential part of their rituals, such as shamanistic ceremonies, spiritual observances for honouring ancestors or state ceremonies. Rituals were considered essential for achieving cosmic balance and bridging the human and divine realms.
The phoenix, was of particular importance in Chu imagery, becoming a fundamental symbol in their culture. This mythical bird is associated with renewal, immortality and divine blessings. It embodied harmony and balance, representing opposing natural forces personified in yin and yang. In rituals, the phoenix was believed to act as a divine messenger, linking the human and spiritual realms. Depictions of phoenixes ornamented musical instruments, bronze vessels and lacquerware, often intricately rendered with flowing, dynamic lines to evoke their celestial grace.
Tigers symbolized strength, protection and dominance over earthly forces. It was regarded as a guardian of the dead and was often depicted on tomb artifacts to ward off malevolent spirits. In Chu rituals, the tiger’s fierce imagery likely invoked courage and power, perhaps reflecting the state’s military prowess. Its presence reinforced both physical and spiritual protection for the community.
Figures with antlers appear to be unique to Chu Kingdom artefacts. To date around 500 objects with antlers, including mythical animals and votive figures, have been found in tombs in its former territory. It is apparent that antlers must have been perceived to hold mystic powers. Male deer shed and regrow their antlers every year, with each set of new antlers gaining an extra branch. Ancient Chinese people must have perceived the deer to have a mysterious gift for regeneration and were the embodiment of a valued attribute: longevity.
The Cleveland Museum of Art has a lacquered wood drum stand with comparable birds - without antlers – which stands on coiled snakes. A very elaborate drum pedestal with phoenixes on tigers - now in the Hubei Provincial Museum - was excavated from Chu tomb nr.2 at Jiuliandun, Zaoyang in 2002.
China, Tang Dynasty (618-907)
H: 88 cm | L: 83 cm
PROVENANCE
With Dragon Culture, Hong Kong 1990’s
With Vanderven UK Ltd, London 1997
With Vanderven & Vanderven, 2014
Private Collection, The Netherlands 2022
TESTED
TL-Tested by Oxford Authentication
PUBLISHED IN
Vanderven Oriental Art Catalogue 2014, Early Chinese Ceramics, nr. 19
LITERATURE
Choi 2007, nr.96 & 99, p.224, 226, 230-1
Harrist & Bower 1997
Jacobson 2013, p.232-233
Kentucky 2000, p.46
3 | Horse
This large unglazed pottery horse, with unusual red pigments, stands on a rectangular base. Its long striding legs, pricked ears, wavy forelock and flowing saddle cloth all suggest a horse in motion. The horse’s neck is gracefully arched, its head carefully modelled with an alert expression, pricked ears and flaring nostrils. A groove runs down the length of the animal’s neck, in which probably once real horse hair was placed. The modelled tail is neatly bound and dressed. Each part of the horse was individually moulded and then assembled with slip. The facial features were individually modelled by hand, giving each piece its own character. The whole would be covered in a white slip and cold painted in coloured pigments.
In the Tang period, pottery models of horses were produced in substantial quantities testifying to their importance in Chinese society. However the size of the figures, as well as the amount allowed in burials were regulated by strict sumptuary laws. The unusually large size of this horse indicates it would have been made for an important nobleman or princeling.
It was Emperor Wudi (reigned 140-87 BC) who first sent expeditions into Central Asia to fetch back ‘blood-sweating’ thoroughbred horses, which gradually replaced the more sturdy indigenous steppe ponies. The emperor believed that these fine steeds would carry him safely to paradise. Initially they were traded with neighbouring Arab nations for silk, later they were also bred in China.
During the Tang era, there was a substantial increase in the import of the coveted thoroughbred horses from the middle-east. These beautiful and elegant beasts, were brought into China as tributes from vassal states. The large demand for this type of horses, also lead to the flourishing of stud farms on the Western and Northern borders of China. A special Horse Policy Bill was passed and a special unit called the Tai Po Zhi (太僕寺), was set up to take care of the imperial horse husbandry. This with the aim of multiplying horses for military, as well as recreational, purposes. It was understood that a powerful and superior cavalry, was essential to retaining power in the region.
Besides military use, horses were also employed in recreational activities involving dancing, polo and hunting - themes also seen in contemporary wall frescoes and paintings. Even the women of the Tang court were known to hunt and play polo on horseback.
The unusually large size of this horse indicates it would have been made for an important nobleman or princeling
China, Tang Dynasty (618-906 AD), 8th century H: 98.5 & 97 cm | L: 75 & 82 cm
PROVENANCE
With Dragon Culture, Hong Kong 1990’s
With Vanderven UK ltd, London 1998
Exhibited at TEFAF Maastricht by Vanderven & Vanderven, 2009
Private Collection, The Netherlands 2022
TESTED
TL-Tested by Oxford Authentication
PUBLISHED IN
Vanderven Oriental Art 2014, Early Chinese Ceramics Catalogue, nr.21
4 | Camels
Unusually large pottery figures of Bactrian double-humped camels, with foreign grooms seated on their backs. They are rendered with extraordinary realism, almost appearing to be in motion. Their long necks curl up, heads rearing back, mouths open in a bray. A tuft of fur sits on top of their heads, at the top of the forelegs and on their bumps; one also has fur running down the length of the neck. The removable grooms, are wearing long-sleeved tunics (hufu) - a typical form of dress of the Northern nomadic tribes - and sturdy black riding boots. Their fists are clenched in the act of controlling the reins - now gone as they would have been made of an organic material such as leather or rope. Such large pottery figures would have been modelled in parts, assembled with slip, the individual details added before firing. After the firing, they were cold-painted with predominately brown pigments.
Camels, also referred to as the ships of the dessert, were of vital importance to the Chinese merchants. These resilient and cantankerous animals were actually not indigenous to China, but brought into the country via trade routes from Turkestan and Mongolia. They became an essential means of transportation of goods and people between China and the oasis cities of Central Asia, Samarkand, Syria and Persia. Camels are particularly hardy beasts of burden, able to endure hot and cold temperatures, whilst carrying a massive load of up to 120 kilograms of cargo and travelling up to 50 kilometres a day. Depending on how hard they worked, they could even go for 4-9 days without water and slightly longer without food. Their large cushioned feet ensured they did not sink into the soft ground of the desert, their double lashes and hairy ears protecting them from sand and dust. These unique capabilities, made them ideal for travelling across the forbidding deserts and the high mountain ranges of the Silk Road - a vast network of trading routes, extending west from China into Central Asia, the Middle East and beyond. These capacities, made the camel a very important and valuable asset for the Chinese merchants and a sign of great wealth.
Experienced foreign grooms were often hired to train, handle and accompany them – as is attested by the many depictions of foreign grooms that have been found.
The trade in China during the Tang dynasty was truly phenomenal. Many silks, ceramic wares, bamboo and other goods were traded for horses and luxury goods such as perfumes and spices. The main capitals of the thriving Tang empire were Chang’an (now Xian) and Luoyang in North Western China. At its height, the very cosmopolitan Chang’an was of a monumental scale, covering 84 square kilometres, with around a million citizens. It had a formal grid plan with two great markets: the Eastern Market and the Western Market. They were the centre of the city’s commercial activity, filled with shops and places to eat and drink tea - an activity greatly favoured by the Tang court.
The cosmopolitan nature and embracement of other cultures in Tang society, is reflected in the frequent occurrence of foreign elements in contemporary burials. The men and women of different races and religions appear to have coexisted in relative freedom. This allembracing attitude adopted by the Tang rulers, greatly facilitated the cultural exchange between the Chinese people and foreigners. Travellers recorded coming to China included Songdians, Turks, Uighurs, Arabs, Mongols, Persians and Indians. Not only were goods exchanged between East and West, but culture and religion also travelled along the Silk Road. This was also expressed in the great religious tolerance towards the Muslims, Nestorians, Christians, Zoroastrians and Buddhists.
The British Museum has a large glazed camel in its collection, which is from a tomb dating to 728 AD (acc.nr.1936, 1012.228). A large glazed camel with a foreign rider in in the Victoria & Albert Museum, London (acc.nr. C.880-193). The Zhaoling Museum, Shaanxi Province, has a large sancai glazed camel with a rider excavated from the area.
Bingwu Li 1998, p.202-3
Brunning & Luk 2024, p.45-61, fig.1.26
Jacobson 2013, p.238-240 (T0059)
Krauer 1998, pl.46a
Liu 1991, p.248
Mater 2011, p.86-92
Rastelli 2008, p.166 & 284, nr.55
Thorpe & Bower 1982, nr.45
Yin 2016, p.47 & 150, fig.120-21
China, Tang Dynasty (618-907)
Height: 22 cm | Width: 34 cm
PROVENANCE
With J.J. Lally & Co., New York 1990’s
With J. Berwald, London 2020
TESTED
TL-Tested by Oxford Authentication
LITERATURE
Bisscop 2004, p.178-181
Desroches 1996, p.179-181
Hobson 1925-1928, pl.34, nr.254
Joseph, Moss & Fleming 1970, pl.33-35
Juliano 1988, nr.68
Prodan 1960, pl.61
Watt 2004, p.246, nr.142
5 | Ox
A grey pottery figure of a recumbent ox (niu 牛), reclining on its right hip. Its right front leg is bent, the hoof resting on the ground; the left leg is folded under itself. The stocky body is realistically modelled, its horned head held up and the tail is draped over the left buttock. Folds of hide surround the slightly humped neck and run down its front. The ox has an alert expression, with the short ears folded back and creases around the mouth and eyes. The hollow body is made with a mould and cold-painted after firing in beige and brown pigments. It is fairly unusual to find single domesticated bovine depicted in pottery from the Tang period; as they are more often found depicted with a harness and cart.
In China the ox is of symbolic, as well as mythological importance. Since ancient times, the ox was used to work on the land, so it became closely associated with fertility and successful harvests. They represent diligence, perseverance and endurance and were not easily affected by their surroundings - sticking to their habits and natural abilities. The welfare of oxen was considered crucially important for farming - if the oxen were not well, food production would be affected and ultimately the people would suffer. Confucius (551-479 BC) describes in the Book of Rites (liji) how the emperor should plow furrows with an ox as an important annual spring ritual. In literature dating from as early as the Eastern Zhou period (770-256 BC), the ox is referred to as one of the crucial Six Domestic Animals (liuchu 六畜) – the others being the dog, pig, goat, horse and fowl. The welfare of all the liuchu was interpreted as a reflection of a well ordered cosmos, vital for safeguarding social order. There are many ancient Chinese legends which connect oxen to water, as it was thought they were able to calm the fury of the rivers and its demons. The ox is the second sign of the Chinese zodiac and represents yin forces.
The British Museum has a small Tang dynasty figure of a standing ox formerly in the Eumorfopoulos collection (acc.nr. 1938,0524.50) and the Victoria & Albert Museum has a glazed standing ox (acc.nr. C.84-1939). Museé Guimet, Paris, holds a glazed figure of a bovine (acc.nr. MA4024).
The dragon (long 龙) is one of the most potent and important animals in Chinese imagery.
China, Ming Dynasty (1368-1644)
Height: 37 cm | Length: 175 cm
PROVENANCE
Private Collection, The Netherlands 2021
TL-tested by Oxford Authentication
LITERATURE
Bisscop 2007, p.249-261 & images: p.259-60, nr.174
Eng 2014, p.107, fig.4.79-4.81, p.110 & p.168 -176
Harrison-Hall 2001, p.516-519
Huo 2015, p.228-265, nr. 95 Pei 2004, p.59-61
6 | Dragon
A Chinese glazed tilework panel, comprising three parts, depicting a dragon in high relief amongst foliage and flowers. Set on a green ground, the yellow and green dragon writhes amongst thickly potted green foliage and yellow blossoming peony flowers. These types of panels would have been part of the decorative architectural scheme of a building, possibly a temple.
Architectural ceramics (liuli), were produced in moulds and then individually finished by hand, the amount of detail varying according to the importance and function of the building. These wares are usually thickly potted from clay and fired at low temperatures. The lead-fluxed glazes used are predominantly from the sancai (three colour) palette of green, yellow and brown, though some examples of tilework are found with a purplish blue glaze.
The dragon (long 龙) is one of the most potent and important animals in Chinese imagery, permeating its history, folklore, religion and the arts. Ranked first among its mythological beasts, it is associated with goodness, power and - from the Han dynasty (206 BC-220 AD) onwards - is the symbol of the emperor himself. In contrast to Western dragons, the Chinese dragon is a good-natured creature; said to control the earth and the heavens, from which the rain fell to nourish the crops. From the earliest times in China, dragons were depicted on objects, portrayed in all shapes and sizes. They generally have a serpentine body, clawed feet and stag-like horns. From the Ming dynasty onwards, the dragon emblem - particularly with five claws - is reserved for the use of the emperor and his immediate family.
The Ming period was one of great economic prosperity and expansion in China, which caused a building boom and a large demand for architectural ceramics. These were manufactured by potters who moved from site to site, establishing kilns where their work was needed. Functional tilework ceramics such as architectural elements and figural sculptures with bright glazes, could then be produced locally for the construction of major buildings or temples. Roofs of notable buildings would be covered with colourful glazed tiles, some with three-dimensional ornaments such as figures of gods or animals. Friezes that ran along the top ridges were also decorated with auspicious decorative motifs, as rooftops were considered platforms of communication between the mortal and spirit world. The decorative schemes were chosen with specific intention of protecting the dwellers against evil, as well as to attract blessings and good fortune.
The British Museum, London, has a series of tilework panels with dragons (acc.nr 2006,0503.1.1-20). The Norton Simon Museum, Florida has a set of two (acc.nr. 2016.46.2a-b).
Japan, Arita Kilns, Edo Period, c.1650-1660
Height: 2.5 cm | Ø: 22.2 cm
With lacquered kibako
PROVENANCE
Private Collection, Japan 2012
Private Collection, The Netherlands 2015
LITERATURE
Arts 1983, p.132 & 162
Fitski 2002, p.22-23, fig.16
Impey 2002, p.39
Jörg 2003, p.37-40, nr.21
7 | Pheasant
A robustly potted early Japanese porcelain sometsuke dish, decorated in underglaze blue on a white ground. The dish has a large boldly executed central scene in the Japanese style, painted in strong washes of blue and edged in a double blue line. It depicts a large pheasant with its head turned back, holding a branch in its beak; it sits on a rock by a single large reed flower and its elongated leaf. The flattened rim has a narrow blue line around the edge. The back of the rim has sprays of reeds and a bird in flight above a single blue line; with a double blue line around the foot-rim. The base has three spur-marks and a circular felicitation mark, in a stylized seal-form, of the character ju (long life) within a blue line.
Dishes of this early type of Arita wares, were probably made for the domestic market; however some pieces also arrived in Europe in the late 17th century. This type of underglaze blue dish is referred to as a Sometsuke (染付), which literally means “to dye” in Japanese. It is said that the name derived from its similarity to the deep blue colour of indigo dye from Japan.
In Japan the pheasant (kigisu), is often substituted for the phoenix in imagery - but it is distinguishable due to its more natural appearance. The green pheasant is the naturally occurring Japanese variety and it is considered the national bird of Japan. This bird is predominantly connected with spring; as well as being associated with maternal love, as female pheasants protect their young - remaining on their nest even when a wildfire threatens to destroy it. They are also fierce birds, with the male birds pecking enemies to death.
When Japanese potters started to make porcelain, it was inspired by underglaze blue porcelain from China. By the mid-17th century, Chinese production went into decline due to social unrest and dynastic change. Responding to European demand, the Dutch merchants - trading from Deshima - encouraged the fledgling Japanese porcelain industry to fill the gap left by China. Initially the designs followed Chinese examples, but towards the middle of the 17th century uniquely Japanese styles and motifs evolved - such as this dish.
China, Kangxi Period (1662-1722)
Height: 22 cm
PROVENANCE
Private Collection, Paris 2024
LITERATURE
Jörg & van Campen 1997, p.198, nr.218
Pei 2004, p.142
Cohen & Motley 2008, p.278
Setterwall 1974, p.163
8 | Parrots
An unusual pair of enamel on biscuit parrots perched on rockwork bases. Their heads are cocked to the left, beaks slightly open. The feathers on their backs and tails are defined in black under a transparent glaze - the buff porcelain underneath showing through. Their chests are speckled with black dots on a white ground. They stand on pierced rockwork bases, with yellow and green enamels known as the ‘egg-and-spinach’ technique or hupiban 虎皮斑 (tiger-skin pattern).
In China, parrots (Yingwu 鹦鹉) are found in the wild, mainly in the warmer southern provinces. But other birds of the same genus (psittacus), such as macaws, cockatoos, loris and parakeets, were also imported from other areas of Asia. These types of exotic birds were known to have been kept as caged birds in China for thousands of years. Already in the Tang era, exotic birds were brought to the imperial court from Indochina and Indonesia. Emperor Xuanzong adopted a talking parrot as a pet and Emperor Taizong commissioned a rhapsody to be written about his own prized parrot.
During the Ming dynasty, the wealthy and well educated scholar Wen Zhenmeng, wrote the Treatise on Superfluous Things (1615-1620), which was a discourse on the proper and elegant use of objects and materials. In the fourth chapter on birds and fish, he explains that as parrots are capable of speech, they should be taught to recite short poems and harmonious phases. To be visually pleasing, their bronze perches and feeding jars must all be elegant and curious. He also specifies that, as with other exotic birds, they were only appropriate for the women’s quarters.
The Victoria & Albert Museum, London, has a very similar pair of parrots (acc.nr. FE.10A-1978). The Rijksmuseum, Amsterdam, also has a similar pair, with the same black feathers but with green enamels on their wings and chest (AK-RBK-16326-A). The Royal Porcelain Collection, Dresden, also has several with the same black feather delineation, but with aubergine and yellow enamelled feathers (inv.nr. PO 3369 & PO 4342 /N123).
China, Kangxi Period (1662-1722)
H: 18.8 cm | W: 18 cm
PROVENANCE
Private Collection, Paris 2023
LITERATURE
Bartholomew 2006, p.116
Goodyear 1918, p.35-140
Pei 2004, p.114
Qingzheng 2002, p.45
Rawski & Rawson 2005, p.44, fig. 15, p.293, nr.218 & p.445
Rinaldi 1993, p.114
9 | Lion Dogs
A pair of very unusual enamel on biscuit porcelain wall vases, in the shape of lion dogs viewed from the side. Made as pendants, one has its head turned to the right, the other to the left. They each have a raised front paw, two standing paws and a paw which is just visible under the belly - creating an optical illusion of a fourth leg we cannot see. They both have two apertures in the top, one on the head and another slightly smaller one on their hindquarters. They are glazed in the distinctive tri-colour sancai palette of yellow, green and aubergine-brown. The backs are unglazed with an opening for hanging.
This type of lion dog is a very popular motif, often recurring in Chinese art. They are also referred to as Fo Dogs or Buddhist Lions (shizhi). They bear little resemblance to real lions, as they are stylized as fantastical creatures with exaggerated features. From the Ming dynasty onwards, they steadily take on a more dog-like appearance, with bulging eyes, a pug-like face and short bushy tail. Allegedly, even Pekinese pugs were bred to look like them. Lion dogs are generally associated with Buddhism, as legend has it that Buddha once entered a temple and instructed his two accompanying lions to wait outside - which they did dutifully. This is said to be the reason that lions are found at the gates of Buddhist temples and entrances of sacred halls – symbols of guardianship and wisdom.
Wall vases first occur from the Wanli period (1573-1620) onwards and were favoured by the Chinese literati for in their scholar’s studio. The unusual shape, with a rounded contour on the front and a flattened back, ensured it could hang flush against the wall; flowers or joss sticks could be placed in the opening in the top. They were particularly practical vases, as they could be used where there was limited space – which also made them suitable for hanging in sedan chairs.
We have found no similar shaped vases, but there is a group of enamel on biscuit wall-vases in the Burrell Collection, Glasgow (acc.nr. 38.100338.1007). The Asian Art Museum, San Francisco has an early underglaze blue wall-vase (acc.nr. B69P111L).
China, Late 18th Century | Later wooden frames
Ø: 32.5 cm
PROVENANCE
Private Collection, Paris 2022
LITERATURE
Bartholomew 2006, p.237-238
Bisscop 2004, p.156-158
Pei 2004, p.74-75
Sargent 1991, nr.123
Silbergeld & Wang 2016, p.299 & 329/19
Ströber 2011, p.91-92
Welch 2008, p.133
10 | Elephant & Horses
A pair of large circular enamel on biscuit plaques, painted in an unusual loose style using thick coloured enamels on a bright blue ground. The animals depicted are rendered in detail, whereas the trees and plants are more loosely represented. One plaque portrays a caparisoned white elephant amongst bamboo, it has a long yellow saddle blanket decorated with plum blossom branches. The bridle, reins and breeching behind its haunches are blue; on its chest is a large red tassel. The other plaque is of two horses in the grass by a willow tree - possibly two of the eight horses of Mu Wang. The grazing horse under the tree, is brown with white patches. The white horse in the foreground is frolicking on the ground, hooves in the air. The horses as well as the elephant have yellow eyes.
The portrayal of elephants (xiang 象) in and on Chinese ceramics, was never very realistic - sometimes even comical. Potters would probably never have seen the real animal, therefore relying on woodblock prints for inspiration. In China elephants were considered powerful animals, believed to be a symbol of prudence, wisdom and strength. Particularly the white elephant was seen as a very auspicious animal. During the Ming and Qing dynasties, domesticated elephants became part of important imperial court ceremonies, as a result their depiction became more widespread in all art forms. Often portrayed beautifully caparisoned with an elaborate saddle cloth, they are also depicted with a boy or a vase on their backs. The pronunciation of the word xiang is a homonym for the word for good fortune. The cloth on the elephant’s back often has more symbols for good fortune - in this case plum blossom branches, which stand for longevity. The word for saddle cloth (jian 韉) can also mean strong - together they could be read as a wish for great fortune and longevity.
For the Chinese, the horse (ma 馬) is an animal with exceptional qualities, such as purity, honour and intelligence. They are a popular subject of many ancient Chinese myths. According to one, King Mu Wang (1001-947 BC), longed to visit the Paradise of the Queen Mother of the West, where the immortality peaches grew. He was driven there in a chariot drawn by eight remarkable horses, with supernatural powers. Each steed was purported to have a unique colour and distinctive qualities. In the 6th century treatise by Sima Qian (Shiji) - the eight horses are individually named for its colour and their special abilities - their depiction is a recurring motif in Chinese art. The two horses on the plaque could be two of Mu Wang’s horses: Bai Xi (白羲), a pure white horse who represents longevity and love and Yu Lun (逾轮), a piebald horse capable of running a thousand Chinese li (miles) without stopping.
China, Kangxi Period (1662-1722)
Height: 6.1 cm | Ø: 26.5 cm
PROVENANCE
Baron & Baroness Vauxelaire, Brussels 2023
LITERATURE
Ayers 2004, p.153, nr.178
Bartholomew 2006, p.42
Beurdeley & Raindre 1987, p.144-145, pl.209
Paris 1960, nr.38
Welch 2008, p.27-30
11 | Lotus
This moulded water-dish in the shape of a lotus leaf, is enamelled all over on the biscuit in a rich turquoise enamel. The elegantly undulating edge of the leaf, curves up, with a small lotus bud and various seed pods along the brim. A large qilong dragon rests on the edge of the leaf. The veining on the surface is deeply incised, the turquoise glaze darker where it pools in the recesses. Correspondingly, the veining on the underside of the leaf is moulded in relief. Three thin lotus stems, also moulded in relief, meander over the underside and up the outside of the leaf - each ending with a bud or pod. The mottling in the turquoise glaze, gives the surface added depth and interest. The last owners were the Vauxelaire family, founders of Au Bon Marché department stores in Belgium, who were great patrons of the arts.
The lotus (he 荷) is a very popular motif in Chinese art. It is the flower which represents summer and the symbol of purity, as it emerges from the muddy water unstained. The various parts of the plant have different auspicious meanings. The flower (hehua) is associated with the word for harmony or peace (he 和). This allusion to harmony and purity of thought could be why this is a popular combination for scholars’ desk objects, such as this dish. Along the top edge are lotus buds in varying stages of development - perhaps alluding to growing knowledge. The qilong (hornless dragon 螭龍,) is sometimes also referred to as a water dragon, which has the same watery connotation as the lotus plant.
The Vergottis collection at l’Hermitage Museum in Lausanne, has an identical turquoise dish. A comparable dish is in the Victoria & Albert Museum, London (acc.nr. 697-1868). The Palace Collection, Beijing, has a turquoise lotus dish, but with straighter high sides and no lotus buds or qilong on the rim.
The lotus (he 荷 ) is a very popular motif in Chinese art. It is the flower which represents summer and the symbol of purity, as it emerges from the muddy water unstained.
China, Kangxi Period (1662-1722)
H: 3.6 cm | W: 11.5 cm
With later giltwood stand
PROVENANCE
Altmeyer Collection, France 2016
With Vanderven Oriental Art, 2017 (label)
Schwarz Collection, UK 2024
LITERATURE
Bartholomew 2006, p.94
Boulay 1984, p.233, no.13
Krahl 1996, p.406-407, pl.229
London 2016, p.69, nr.34
Scagliola 2012, p.252, nr.272
12 | Lotus & Crab
An enamel on biscuit porcelain water vessel, naturalistically modelled in the shape of a lotus leaf. The leaf is enamelled in a clear green and has incised veining and a softly undulating edge. The sides curl up, forming a shallow basin. Emerging from the remaining lotus flower, is a large green seedpod, with an oval shaped opening in the top. Two knobbly lotus stems - one green the other yellow- run from the upper rim to the seedpod. The bottom of the basin holds several small aquatic animals such as a brown crab, a yellow water snail and a tiny green frog. A black insect is perched on the rim. The underside has three small moulded feet - slightly raising the leaf - and is covered in a transparent light green glaze. It carries an old unidentified paper label, with inventory nr. 40 and a description in French.
This charming vessel, with its many references to water, could have been used as a brush washer or brush wiper; the seed pod perhaps used as a water dropper. The curled edge of the leaf may also have served as a spout for dripping water onto an inkstone. Many objects intended for a Chinese scholar’s desk, centre around writing or painting using ink and water. Apart from being utilitarian, these objects often came in a myriad of interesting forms and materials. Shapes inspired by nature and animals were particularly popular, as they were a way for the scholar to bring the natural world onto his desk and perhaps reflect a clever emblematic message.
One of the peculiarities of the Chinese language is that it has a very large number of written characters, but a much smaller number of spoken sounds. As a result, many Chinese characters share the same pronunciation (homonyms). Chinese artists and scholars frequently took advantage of this characteristic, creating hidden or implied meaning or visual puns with depictions of animals, plants or combinations of the two. With this object the lotus is of particular significance in combination with the small creatures: the lotus (he) with crab (xie) is a homophone of hexie meaning harmony. The crab is a symbol for success in passing civil examinations - an appropriate emblem on a scholar’s water dish.
A very similar lotus leaf is in the Laura Collection, Italy. Another was exhibited in the Oriental Ceramics Society centenary exhibition in London in 2016.
China, Kangxi Period (1662-1722), circa 1700
Height: 17.2 cm
PROVENANCE
Private Collection, The Netherlands 2024
LITERATURE
Jörg & van Campen 1997, p.249 nr.286
Sargent 2012, p.232-233 nr.113
Welch 2008, p.53
13 | Grapevine
A large round bodied Yixing stoneware ewer; the spout, handle and lid finial moulded in the shape of gnarly branches. The body and the lid are decorated in low relief with scrolling grapevine branches, leaves and abundant bunches of grapes. The budding leaves on the ends of the trailing vines, are still furled up. The distinctive sharply moulded leaves, have naturalistic veining - perhaps taken from an impression of a real leaf. One of the branches shoots from the top of the handle, the second one from the spout. The decorative moulding is executed in great detail, the finely grained Yixing clay ensuring it remained crisp and sharp even after firing.
Grapes (葡萄 pútáo) were first grown in China in the Western Han dynasty (206BC-9AD). They are known for their fast and plentiful growth, producing grapes in large clusters. Grapes are generally symbolic of autumn, harvests and the abundance of food. But in China vines (wan) also represent plenty - in the sense of material wealth - as well as the wish for a profusion offspring. This association with abundance, make grapes an auspicious fruit, often enjoyed during Chinese New Year celebrations.
The distinctive red coloured Yixing wares are made from a clay also known as zisha (purple sand), which is only found in the area around Yixing city in Jiangsu province. This type of stoneware was produced from the Song dynasty onwards, becoming particularly popular amongst the scholarly class during the Ming dynasty. In China, Yixing teapots are particularly valued for brewing black tea, as their unglazed surface absorbs certain amount of the flavour - which continuously adds to an increasingly complex taste of the tea. Some tea connoisseurs even insist on steeping only one type of tea in a particular pot, so as not to corrupt the already absorbed flavour!
A similar teapot with vines is in the Rijksmuseum, Amsterdam (acc.nr. AK-NM 6574), another in the Peabody Essex Museum, Salem (acc.nr. E85049. ab). The Royal Porcelain Collection (Dresden), has a similar ewer with added gold decoration, it has vines but no grapes and a squirrel on the lid (inv.nr. PO 3867). They also have a smaller Yixing teapot with grapevines and a squirrel (inv.nr. PO 3868).
China, Kangxi Period (1662-1722)
H: 15.8 cm
PROVENANCE
Private Collection, United Kingdom 2017
With Vanderven Oriental Art, 2018
Schwarz Collection, UK 2024
PUBLISHED
Vanderven Oriental Art Catalogue 2013, Kangxi Porcelain & Coromandel Lacquer, nr.22
LITERATURE
Ayers 2004, p.110, pl.116 & 117
Bartholomew 2006, p.30
Bondy 1923, p.172
Beurdeley & Raindre 1987, p.84, pl.122
Pinto de Matos 2011, p.340, pl.153 & 154
Sargent 1991, p.40, pl.9
Scagliola 2012, p.248, nr.256
14 | Finger Citron
A pair of fruit pyramids, each comprising four layers of finger citrons in fluted dishes. They are brightly enamelled on the biscuit in a limited palette of ochre yellow, green and brown glazes - a colour combination known in China as sancai (three colours). The fruit, has a slightly pitted surface, imitating the citrus rind and are enamelled in a rich ochre yellow. The citrons are randomly interspersed with green leaves and brown stalks. The stacked fruit sits in a fluted yellow dish, one with a brown rim the other with a green rim. The inside and underside of the dishes are unglazed.
To make the pyramids, each fruit would have been individually moulded, arranged in layers in its dish and joined with slip. The small veined leaves and branches would be added last before firing. After the first high temperature firing, the coloured enamelling would be added onto the biscuit body. The piece would then be fired again at a lower temperature.
These porcelain models of fruit, probably derive from the Chinese tradition of placing food offerings on a house altar, in a temple or perhaps a tomb. Traditionally food offerings, together with flowers and incense, are placed on these altars to honour deities or ancestors. Replicated fruit offerings such as these, could be used as an alternative to fresh fruit.
The fingered citron (Citrus medica var. sarcodactylis) is an unusually shaped citrus variety, with a thick rind and peculiar finger-like protrusions on one end. In China it is also referred to as Buddha’s Hand, as it resembles the hand position (dhyana mudra) of Buddha in meditation. The Chinese characters in its name Foshou 佛手, are very emblematic. The character fo (buddha) is a play on the word for blessings and riches fu. The second character shou (hand), is also a pun for longevity. This makes the finger citron a highly popular emblem for happiness, longevity and good fortune. A similar pyramid with finger citrons is in the Laura Collection, Italy. Comparable pyramids, but with different fruits, are in the Vergottis Collection (Lausanne), the Copeland collection in The Peabody Essex Museum (Salem) and in the RA Collection.
China, Kangxi Period (1662-1722), with Kangxi six character mark
Ø: 33 cm
PROVENANCE
Mastenbroek Collection, The Netherlands 2024
LITERATURE
Avitabile 1992, p.142, nr.289
Jörg 2011, p.59, nr.59
15 | Flowers & Beasts
A pair of large dishes with shallow sides and a wide flat rim, decorated in famille verte enamels. They each have a large central reserve, decorated with a tall central vase flanked by two smaller vases. They each hold a bright flower arrangement with two birds flying above them. On the rim is a border of eight linked cartouches, outlined with a dark brown line. Four of the cartouches are decorated with auspicious and mythical beasts - including a Buddhist lion, winged deer, tiger and qilin. The alternating cartouches each have colourful flowering plants and a flying bird. The back of the rim has three elongated sprays of red peonies. Unusual is the blue six-character Kangxi mark in a double circle on the base. These marks were generally reserved for Imperial porcelain orders, whereas these dishes were possibly made for export.
Flowers are considered very auspicious in Chinese culture, because of their profusion of blooms. The individual flowers and plants also often have a specific significance or auspicious connotation. In China it is customary to decorate the homes with blossoms and flowers (hua) during the New Year celebrations, as they are thought to bring prosperity. Fresh flowers, or the depiction of flowers - particularly when combined with other auspicious symbols - bless the owner, his house and his family, generally wishing good health, prosperity and an abundance of offspring.
An identical dish is in the Groninger Museum (inv.nr. 1945-222) and the Musée des Beaux Art de la Ville de Paris (inv. nr. ODUT1202).
FAMILLE VERTE PORCELAIN
Famille verte - literally translated as “green family”was a term coined in the 1860’s by Albert Jacquemart. He was the first to classify Chinese porcelain, according to the predominant enamel colour used. Typical famille verte wares are made with a highly refined white porcelain clay, decorated with bright, almost translucent, enamels which slightly rise above the surface of the porcelain. In addition to the various vivid greens, the colour-set includes yellow, aubergine and a coral toned iron-red and a composite black. The blue over-glaze enamels in this palette, have a violet or royal blue tone. Gold is also occasionally applied, to further enhance the decoration. Underglaze blue was still used for the markings on the base or circles around the foot, rim or central panel.
China, Kangxi Period (1662-1722), c.1700
Height: 61 cm
PROVENANCE
Private Collection, Scandinavia 2013
With Vanderven Oriental Art, 2016
Gorrissen von Maltzahn Collection, Berlin 2023
LITERATURE
Amsterdam 2015, p.310-313, nr.91
Beurdeley & Raindre 1987, p.199, fig.276
Campen & Eliëns 2014, p.244-245, fig.16
Clunas 1987, p.60, fig.40
Jörg 2003, p.44-45, nr.20
Pinto de Matos 2019, nr.82, p.200-203
Sargent 2012, p.130
16 | Flowers & Landscapes
An unusually large Chinese porcelain flower pyramid, decorated in a bright underglaze blue. The obelisk-shaped upper section, is divided into three trapezoid tiers - the top one ending in a pointed pinnacle with a blue finial. Each tier has four spouts - one on each cornerangled upright to hold flowers. The obelisk is held up by four claw feet, with seated birds in between them. The square base, has wide stepped plinths at the top and bottom, both decorated with three patterned bands. The unglazed base is raised with pad feet and has a hole in the middle. The body of the obelisk is decorated with a dense pattern of stylized foliage, each spout surrounded by a more open decoration of swirling foliage and flowers. The spouts themselves just have a simple lotus flower and some leaves. The square panels on each side of the base, are alternately decorated with charming small Chinese landscapes and rocks with flowering plants.
Chinese porcelain flower pyramids are rare, undoubtedly considered exclusive luxury items when they arrived in Europe. Such objects would have been made to order for Dutch private traders and their customers, taking many years before arriving in Amsterdam by ship. These private orders - referred to as Chine-de-Commande - often included objects with European shapes and decoration. The designs were copied from wooden models or drawings, which were brought to China as reference material for the makers. This could sometimes lead to some interesting and curious interpretations and variations.
The Chinese pyramids are smaller and more finely made than their Delftware counterparts. The construction is also different, as Delftware examples were generally built-up out of multiple separable sections, each layer fitting into the next. This Chinese version was modelled in individual hollow sections, but then fired as a whole. Other known porcelain versions occasionally comprise two sections.
Flower pyramids - also referred to as tulip vases - were first made by the Delft potteries in the late 17th century. They were a particular specialty of ‘De Grieksche A’ manufactory, who produced large spectacular examples. Stadholder William III (1650-1702) and his wife Mary Stuart (1662-1695) were particularly partial to these special vases, which they ordered to decorate their royal residences in the Dutch Republic and England. Such flower vases would have been used as ostentatious table centrepieces, with a variety of exotic blooms placed in the spouts. They were no doubt meant to impress the onlooker and display the wealth and good taste of the owner. This large Chinese porcelain version was probably considered even more exotic than its Delft equivalent, as these examples are even rarer than their Delftware cousins.
Similar vases (all smaller) with a more European decoration on the base panels, are in the Victoria & Albert Museum, London (acc.nr. FE.3&A-1979), Peabody Essex Museum, Salem (acc.nr. E82654), Kunstmuseum, The Hague (acc.nr. 0323995) and the Hong Kong Museum of Art (acc.nr. C1994.0010). The Groninger Museum has a pair of vases (inv.nr. 1899.0149) as does the RA Collection (inv.nr. 782). The Asian Civilisations Museum, Singapore has an unusual example with later polychrome decoration added in Europe (acc.nr. 2015-00201).
China, 18th Century
Height: 6.3 cm | Width: 12.4 cm | Length: 18.6 cm
PROVENANCE
With Bluett London (Label)
Van Dijk Collection, The Netherlands 2023
LITERATURE
Bartholomew 2006, p.212
Becker 2019
Donnelly 1969, p.79-80, pl.22 & 23
Kerr & Ayers 2002, nr.95, 143 & 145
17 | Plum Blossom
A robustly potted Blanc de Chine hexagonal jardinière, decorated on one side with an elongated branch of plum blossom. The high and wide upper rim is stepped on the inside. The raised flower decoration, would have been applied after the body had been shaped before glazing and firing. The jardinière stands on a raised hexagonal foot rim – mirroring the outline of the bowl. This is an unusual shape for Blanc de Chine porcelain, though the plum blossom is a motif which frequently occurs on these wares.
The plum tree in China is the botanical Prunus mume or mei - more closely related to the apricot than the plum. Its blossom (meihua 梅花) is a frequently used decorative motif in Chinese art, considered a beautiful and emblematic flower, laden with symbolic meaning. Particularly admired for its purity and beauty, it is also referred to as ‘the first amongst flowers’. It blooms very early in the year, despite harsh and cold winter conditions. Therefore it has not only come to represent winter, embodying renewal, hope and resilience in hardship. This flower is often associated with longevity and vigour in old age, as it blooms on withered old branches. This tree also offers many opportunities for word play. Mei (plum 梅) and mei (eyebrow 眉) are homophones, a long bushy eyebrow considered a symbol of long life in China. This bowl could have therefore been a birthday gift wishing someone a happy and long life.
Blanc de Chine - literally white of China - is a term which refers to the typical white porcelain objects produced by kilns in the Dehua area of Fujian province. The white body contains very little iron oxide, which allowed it to be fired in an oxidising atmosphere, resulting in a creamy-white glossy glaze. The colour and style of Blanc de Chine objects, makes them distinguishable from the porcelain from kilns in Jingdezhen. Dehua porcelain production and quality peaked in the 17th and 18th centuries.
Facetted jardinières were popular during the Kangxi period in the Qing dynasty, though understated Blanc de Chine examples are quite unusual. Vases, teapots, cups and bowls with plum blossom decoration are more common.
China, Kangxi Period (1662-1722)
Six-character Kangxi mark on the base
H: 10.4 cm | D: 20.9 cm
PROVENANCE
With Vanderven & Vanderven, 1980’s (label)
Sosef Collection, The Netherlands 2022
LITERATURE
Chen 2005, p.192, nr.113
Krahl & Ayers 1986, p.192, nr.113
Neave-Hill 1975, pl.146
Pei 2004, p.180
Pierson 2004, p.84-85, nr.B635
Wiesner 1981, p.99, nr.43 & 44
18 | Three Friends of Winter
A porcelain bowl, with rounded sides and a slightly flaring rim, on a high foot ring. Around the exterior, it is freely decorated in underglaze blue with a large pine tree, prunus tree and tall bamboo, set amongst shorter plants, grass and low rocks. Along the outside of the rim runs a double blue line. The inside of the rim has a wide band within double blue lines, decorated with pine, plum and prunus branches. The bottom of the bowl has a round panel, also within a double blue line, with the same three plants. The underside of the bowl has a Kangxi six-character mark within a double blue circle: da Qing Kangxi nian zhi (made in the Kangxi period of the great Qing dynasty).
This design combining pine, bamboo and prunus is a motif known as The Three Friends of Winter (sui han san you 歲寒三友). All three of these plants have the natural ability to withstand, or even flourish, in harsh environments. Evergreen pine trees grow to an old age, therefore represent stability and longevity. Bamboo symbolises the upright man who, like a bamboo stem, does not break but bends in adverse conditions. The plum blossom, is the first flower to appear in the early months of the year, symbolizing purity, renewal and longevity. Representations of these thardy winter survivors, were intended to encourage you to persevere, even in the face of adversity. This is probably why this threesome, also came to symbolise fortitude and uprightness in trying conditions - traits which a Chinese scholar certainly wanted to aspire to. This trio of plants can represent the three Chinese beliefs: Confucianism, Daoism and Buddhism. A Chinese scholar gentleman was said to be a Confucian during his career, a Daoist when he retired and a Buddhist when death was imminent.
An identical Kangxi mark and period bowl is in the Topkapi Saray Museum, Istanbul (TKS15/4318i) and another comparable one is in the Palace Museum, Beijing. Several collections have bowls with The Three Friends of Winter décor, dating from the earlier Ming dynasty. One in the Percival David Collection, London (acc.nr. PDF B.635) and another in the Cleveland Museum of Art (acc.nr. 1953.631). A pair of bowls with this décor, from the later Qianlong period, are in Roemer Museum, Hildesheim.
China, Yongzheng Period (1723-1735)
Height: 6.9 cm | Ø: 15 cm
PROVENANCE
Martin Hurst Collection, United Kingdom (Label nr.438 & 439)
With Dinastia, Lisbon 1980’s (label)
Private Collection, France 2024
PUBLISHED
The Book of Famille Rose, 1970, pl.XX
LITERATURE
Beurdeley & Raindre 1987, p.86-92
Crosby Forbes 1982
Davids & Jellinek 2011, p.314
Pei 2004, p.65
Welch 2008, p.71-72
Williamson 1970, pl. XX
19 | Peonies & Ducks
A very fine pair of eggshell porcelain bowls, decorated with opaque enamels from the famille rose palette. The bowls have wide flaring rims, with a scalloped edge and stand on a high foot ring. The exterior is decorated with a dense pattern of scrolling green foliage with pink peonies, a few yellow flowers and the occasional small blue leaves. The two large reserve leaf-shaped panels, are outlined in black. They each depict a pond with a golden mandarin duck - one a male and the other a female - surrounded by trailing peony branches. The inside rim has a wide border with a pink diaper pattern outlined with a turquoise band, interspersed with three blue floral ornaments and three leafshaped reserves with flowers. The bottom of the bowls have a large pink peony flower. The undersides are undecorated and each have two labels, one for the W. Martin-Hurst Collection (nr. 438 & 439) and a dealer label Dinastia, Lisbon.
Often depicted in pairs, Mandarin ducks (yuanyang 鸳鸯) are a popular motif in Chinese art. It is believed that they mate for life and will perish if separated. For this reason they are popular symbols of marital devotion and fidelity. Peony flowers (mudanhua) are emblems of wealth, honour and feminine beauty. When Mandarin ducks are depicted together with peonies they denote the wish for a prosperous and happy marriage.
William Martin-Hurst (1876-1941), was a renowned collector and connoisseur of famille rose eggshell porcelain. He famously collaborated with George Williamson’s seminal work The Book of Famille Rose, in which many of the illustrated pieces came from Martin-Hurst’s own collection. His impressive collection is well known for its exceptional quality, objects mostly dating from the Yongzheng and early Qianlong periods. After his death it was auctioned in London in 1942, 1943 and in 1981.
FAMILLE ROSE EGGSHELL PORCELAIN
During the relatively short reign of the Yongzheng Emperor (1723–1735), Chinese porcelain production reached new heights of technical and artistic sophistication. The court actively absorbed Western influences and innovations brought by Jesuit missionaries, leading to new developments in techniques and artistry. Notable developments were the expanded range of enamel colours used to decorate porcelain, as well as the use of highly refined white clay. The clay underwent extensive processing to remove impurities to ensure a white and smooth body. This allowed the very skilled potters to make ultra-thin and translucent porcelain, known as eggshell ( 薄胎瓷, báo tāi cí) . The new and expanded palette of opaque, pastel coloured enamels introduced is known in the West as famille rose - including pink, yellow, green and sky blue. The enamels were applied over the high fired glaze body and re-fired at a much lower temperature. These refined colours were made using a lead-based enamel mixed with pigments - including a pink derived from colloidal gold - which allowed for subtle gradations and shading. In China, this style is referred to as fencai ( 粉彩) , meaning “powder colours,” highlighting the soft, powdery quality of the hues, or yangcai ( 洋彩) , “foreign colours”, reflecting the influence of Western aesthetic techniques and materials used in the porcelain production.
China, Jiaqing period (1796-1820), circa 1800
Height: 28.5 cm | Width: 18 cm | Length: 30 cm
PROVENANCE
With Roger Keverne, UK 2021
LITERATURE
Beijing 2004, p.34-52
Beurdeley 1966, p.167
Boda 1987, nr.58-61, W0253V
Hay 2010, p.316-318, fig.181 & 182
Rawski & Rawson 2006, p.360, fig.72
Setterwall 1974, p.189, p.309, nr.FE198
Stein 1990
Weng & Boda 1982, p.303, fig.216 & 217
Yi 1985, pl.78
20 | Penjing
An octagonal cloisonné enamel jardinière, decorated all round with flowering branches. The broad edge has a key-fret pattern on the top and side and it stands on bracket feet. It is ‘planted’ with a large and small blossom tree with pale jade leaves and blossoms with bright green petals and coral pistils. The trees grow from a ground laid with three miniature boulders and other flowering shrubs with coral and rose quartz petals. It stands on a rectangular cloisonné tray with archaic motifs.
In China, the art of creating a miniature landscapes in a container, is known as penjing (盆景). The word pen meaning tray or pot and the word jing meaning scenery. These small idealized sceneries, were specifically made for enjoyment and bringing nature indoors. One of the earliest depictions of a penjing, is a mural dating from the Han dynasty (220 BC-220 AD). In the 12th century Buddhist monks took this concept to Japan, where it went on to be known as the Bonsai. The Chinese version differs from its Japanese cousin, in that they are less constrained by rules, focussing on artistic expression and portraying nature, rather than creating perfection. Potted landscapes, real or fantasy, were highly regarded by the scholarly elite and the Imperial court in the 18th and 19th centuries. Considered to function as equivalents to their outdoors counterpart, penjing provided the literati class with a perfect escape into the natural world - away from the world of mundane affairs. The purpose was not just to re-create nature, but to actually capture its essence. Daoists regard the universe as having a balanced cosmic energy - yin and yang; in small version of nature, this balance was made visual. All aspects of the composition were thought through carefully, including the type of container, the placement and species of the tree, its size, shape and colour. In Daoism, being at one with the environment, was reflected in the desire to surround themselves with nature.
A number of miniature gardens made with semi-precious stones are in the Palace Museum, Beijing. The Asian Civilisations Museum has two potted landscapes with vines (Acc.nr. 1995-03487). The Chinese Pavilion at Drottningholm Castle in Sweden, has marble containers with ivory flowers (HGK 174, 173, 1777:12).
Chinese captions
1 | Serpents
盤蛇青銅鼓座
中國戰國時期
高：37 公分；直徑：71 公分
2 | Phoenix & Tiger
虎座鳳鳥鼓架
中國東周楚國
高：99 公分
3 | Horse
陶馬
中國唐代
高：88 公分；長：83 公分
4 | Camels
胡人騎駝陶俑
中國唐代（約八世紀）
高：98.5及97 公分；長：75及82 公分
5 | Ox
陶牛
中國唐代
高：22 公分；寬：34 公分
6 | Dragon
牡丹獨龍壁
中國明代
高：37 公分；長：175 公分
7 | Pheasant
雉雞盤
日本有田燒（1650-1660）
高：2.5 公分；直徑：22.2 公分
8 | Parrots
素三彩鸚鵡
中國清代康熙時期
高：22 公分
9 | Lion Dogs
素三彩對獅 中國清代康熙時期
高：18.8 公分；寬：18 公分
10 | Elephant & Horses
吉象駿馬
中國十八世紀晚期
直徑：32.5 公分
11 | Lotus
荷葉螭龍筆洗
中國清代康熙時期
高：6.1 公分；直徑：26.5 公分
12 | Lotus & Crab
荷葉蟹蟲筆洗
中國清代康熙時期
高：3.6 公分；寬：11.5 公分
13 | Grapevine
葡萄紫砂壺
中國清代康熙時期
高：17.2 公分；寬：26 公分
14 | Finger Citron
素三彩佛手
中國清代康熙時期
高：15.8 公分
15 | Flowers & Beasts
五彩花卉鳥獸盤
中國清代康熙時期
直徑：33 公分
16 | Flowers & Landscapes
塔形青花瓶
中國清代康熙時期
高：61 公分
17 | Plum Blossom
浮雕梅花白瓷盆
中國十八世紀
高：6.3 公分；長：18.6 公分；
寬：12.4 公分
18 | Three Friends of Winter
歲寒三友青花碗
中國清代康熙時期
高：10.4 公分；直徑：20.9 公分
19 | Peonies & Ducks
粉彩牡丹鴛鴦碗
中國清代雍正時期
高：6.9 公分；直徑：15 公分
20 | Penjing
玉石盆景
中國清代嘉慶時期
高：28.5 公分；寬：18 公分；
長：30 公分
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COLOPHON
For Neeltje van der Ven – Blonk (1940-2024)
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