Chapter II. The Yuan-Ming Imperial’s Ceramic Comparative Study
2.1 Red Colors Decorations(Tabel 2.1)
2.1.1 Underglaze cobalt red(Tabel 2.1.1)
2.1.2 Overglazed cobalt red(Tabel 2.1.2)
2.2 Blue Colors Dcorations(Tabel 2.2)
2.2.1 Qingbai light blue monochromes incise decoratios
a. Pear Shape Vas(Tabel 2.2.1.a)
1a) C.P.Lin Collection-Hongkong (ill.c.2.2.1.a 01)
The white wares of Jingdezhen ( or qingbai wares) become technologically advanced in the Nothern Sung(960-1127) peeriod
By the Yuan dynasty,the glaze has lightened (blue-ed) somewhat and become slightly thicker and more opaque in texture. The “Yuhunchunping” (Pear shape vase) from previously more elongated , has now become rationalized with carved decoration around the sites enhancing the widest part of the shape(Anthony Linn,Art Of Asia vol 25 no 3,1995 page 65)
1b) Every Brundage Collection-USA(ill.c.2.2.1.a.02)
1c) IUC collection-Indonesia(ill.c.2.2.1.a.03)
The fragment of the same “Yuhunchunping” Qingbai Yuan Cheramic was Found in West Kalimantan (Borneo), my be as a given of Kablai Khan to TanjungPura Emperor bring by The Mongol General during The Expedition to punish Java’s King
(Ming-se Affairs, read IUC Limited Books” The Indonesia Travel,s Unique Collections-ed)
b.Pear Shape Ewer (Tabel 2.2.1.b)
Qing Bai Pear Shape Ewer was found near the Capital of Yuan Mongol Dynasty, black and white news paper’s photo cliping
(ill. 2.2.1.b. 01)
2)IUC collection, same with the China findings.- the boddy and handle found at Acheh and Spout and cover found at West Borneo-Indonesia, may be as the gift of emperor Kablaikan the the Pasai Aceh King and Tanjung Pura King or as Given of Yongle Eperor via Cheng He expeditions,(I hope Mr Lam , He Li, Anthony Lin or Mac Kinnon comment –ed) (ill.2.2.1.b 02)
2.2.2 Blue-White underglaze Decorations
a. Yuan Dynasty(Tabel gc. 2.2.2 a)
a) C.P. Lin Collection-Hongkong(ill g.c 2.2.2 a.01)
The history of early blue-white is still somewhat of a mystery, although the Yuhunchunping with the bright cobalt tone enlivening the decoration , here employing the favourite ttheme of a lotus pond.A very rare pouring vessel , used probably for libation purposes.(Anhony Lin,1995).
b)Avery Brundage Collection-USA(ill g.c.2.2.2 a.02)
c) IUC CollectionIndonesia (illg.c.2.2.2.a 03)
The same save of C>P> Lin Collection above were found the artifact bottom ,neck and mouth ,frament of the body, found West Borneo,( ill.gc 2.2.2 a 04-06)
b.Early Ming-Yongle period(Tabel 2.2.2 b)
1) C,P, Lin Collection ( ill.gc.2.2.2.b.01)
2)Avery Brundage collection (ill gc.2.2.2 b.02)
3)IUC collection (ill gc 2.2.2. b.03)
c.Xuan-de Periode(Tabel 2.2.2. c)
1)CP Lin collection(ill gc.2.2.2.c 01)
2)Avery Brundage collection ( ill gc.2.2.2 c.02)
3)IUC collection (ill gc.2.2.2 c.03)
d.Chenghua-period (Tabel 2.2.2. d)
1)CP Lin collection (ill.gc.2.2.2 d 01)
In th reign of Emperor Chenghua (1465-1487), Imperial ceramics reached a peak that was not to be surpassed except possibly in the eighteeth cenury. In particular the rich,waxy glaze served as an admirable canvas under which bluw-white design were exccuted to subtle effect. The stempcup formely in the Palmer Collection has a soft,silvery sheen and the striding winged dragon is painted with great freedom.
2)Avery Brundage Collection(ill.gc.2.2.2.d 02)
3)IUC Collection (ill.gc 2.2.2. d 03)
Only one small souncer Chenghua ceramic with flower design in soft blue and red underglazed colour, an Cenghua mark , (this original or Copy,please informaion).
e.Cheng-Te period(Tabel 2.2.2. e)
1)Every Brundage collection(ill gc 2.2.2.e.01)
2)IUC collection ( ill gc 2.2.2. e. O2)
Only one Islamic Calligraphy blur-white plate ceramic artifact found in West Java, may be as a given to the Java Islamic Kingdom in Weat Java,my be Sunan Gunung Jati Cheribon.
2.3 The Copies Of Chinese Imperial Ceramic
2.3.1 Old Times
a.China ( Tabel 2.3.1a)
1)Xuande-Style and Mark-CP Lin coll.(ill.gc.2.3.1a.01)
Cheng Hua blue-white was much copied in the eighteenth century .From the Yongzheng period , is a faithful copy of the Chenghua original,down to comparable softtones of the cobalt although the painting is not as sontaneous.(A.Lin,1995)
2)Cheng Hua Style and Qing Mark-IUC coll.(ill gc.2.3.1. 02)
3) Wanli-Style and Mark-IUC coll.(ill.gc. 2.3.2.03)
b.Vietnamese (Anamese) Tabel 2.3.1b.
Through a study of the aristic expressions of the ceramic s and identification of shared and unique feutures ,the nature of Vietnam’s relationship with china will be more precily defined.
I also find it difficult to accept Lam’s observation that the vienamese”lotus-petal dishes” are ink slab. Lam notes that the unglazed and rough surface of the Vietnamese.
Vietnamese dishes would facilitate the griding of ink stick with water. Although the surface of these vessels are unglazed , the neatness of the finishh , and the ubiquitous lotus flower carving, is not consistent with a surface made to accomodate grinding.
Furthermore , he Vietnamese vessel is lack the drainage canal of the ink slab. Comparative study of Vietnamese blue-white with Chinese lue-white from the collection of Tokapi saray Museum, examine in detail the decoration on the Vietnamese botle which is date to 1450 . Due to that anlysis of the globular body with long tubular kneck , concluded that the form is “throughly Vietnamese” and oqes nothing to chinese influence , cites other Vietnamese blue-white jar statisticaly related. The sape of a basic form of storage jar is known from brown glazed were as examples a vessel as”Probably made in central Vietnam, the central Vietnamese kiln , they may owe more the influence of Chinese rather than then Kihn Vietnamese potters.(Stevenson &Guy,1997 ,Art Of Asia,vol 28 no6,1997,page 131)
a) Yuan Style(ill.gc.2.31. b 01 -05)
Comparative study the Blue and White ceramic made by Kihn Vietnamese potters ,different with chinese styleand storage jar made by central Vietnamese potter near with the chinese style.
b) Ming Style (ill.gc 2.3.1. b 06-010)
Comparative study Blue-White Ceramic made by Kahn Vietnamese potters during Ming Era more different than Ming Dynasty cheramic especially style ,color, and basic porcelain kaolin
a)Yuan Blue-white Style
b)Yuan Red underglaze Style
2.3.4 Contemporary Time
2.2 The Indonesian Late Ming Blue-White Ceramic Decorations
2.2.1 Spiritual Animal(Dragon ,phoenix and Chilin)
2.2.2 Auspicious characters for longevity,fortune etc
2.2.3 Plum,orchid,bambo or chrysantenium.
2.2.4 Fish,shrimp and crab
2.2.5 Cow,sheep,horses and dog
2.2.6 Budish subjects suchs as Guanjin and preaching Budha, emblem of budhist.
2.2.7 Playings figur
2.2.8 Lily , narcist,peony and other flower.
2.2.9 Wild creatures such as Lion,tigers,deer and monkey
2.2.11 Taosm such emblem and eight creatures(dewa)
2.2.12 Unlist decorations