A FINE PAIR OF FAMILLE VERTE SAUCER-DISHES Chenghua six-character marks,...
The John E. Bodie OBE (1930-2023) Collection of Chinese Art 大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)中國藝術品收藏
A FINE PAIR OF FAMILLE VERTE SAUCER-DISHES
Chenghua six-character marks, Kangxi
Each finely potted with rounded sides supported on a short foot, the first dish with a fruiting branch of ripe peaches amidst verdant foliage in the well within a double red circle, the exterior with further branches of peaches and pomegranates, the second dish with a flowering branch of peonies in the well, the exterior with further peonies and branches of blossoming prunus, the bases of both vessels with underglaze-blue six-character marks within a double circle. The largest 17.7cm (6 7/8in) diam. (2).
清康熙 五彩花果紋盤一對
青花「大明成化年製」楷書款
Provenance: H.M. Knight (the dish with fruiting peach)
W.R.Bindley
Roger Keverne Ltd., London, December 2004 (letter)
Harry Hyams, acquired from the above and gifted to John E. Bodie, Christmas 2004
John E. Bodie OBE (1930-2023), London, collection no.17
Exhibited: Oosterse Schatten, Rijksmuseum, Amsterdam, 1954, no.347 (fruiting peach dish)
Published, Illustrated and Exhibited: The Oriental Ceramic Society, Arts of the Ch'ing Dynasty, London, 1964, no.183 (the fruiting peach dish)
The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, pp.312-313, no.185 (both dishes; labels). John E. Bodie loaned 7 pieces to the exhibition.
來源：H.M. Knight（桃紋盤）
W.R.Bindley
倫敦古董商Roger Keverne Ltd.，2004年12月（據信）
Harry Hyams，從上處獲得並在2004年聖誕節贈予John E. Bodie
大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號17
展覽：Oosterse Schatten，阿姆斯特丹國家博物館，阿姆斯特丹，1954年，編號347
（桃紋盤）
展覽著錄：東方陶瓷學會，《Arts of the Ch'ing Dynasty》，倫敦，1964年，編號183（桃紋盤）
東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第312-313頁，編號185（兩隻盤；據標籤）。John E. Bodie 曾借展7件藏品給該展覽
Several dishes of similar style have been documented, featuring various combinations of fruiting and flowering branches in a distinctive colour scheme. These dishes typically lack underglaze-blue decoration and are characterised by double red lines encircling the designs and rims, often bearing spurious Chenghua marks.
One dish in this group showcases a fruiting peach branch on the interior and branches of cherry and loquat on the exterior, while another features a flowering pomegranate on the interior and begonia and a flowering fruit tree on the exterior. Utilising polychrome washes, the motifs are rendered in a naturalistic manner, with particular attention to detail evident in the depiction of leaves, some of which show signs of aging such as insect bites and yellowing.
Such attention to detail as the yellowing leaves reflect that the mark of a person of feeling in the late Ming and Qing dynasties was a poignant awareness of the transience of the phenomenal world, embodied alike in the changing seasons and in the shifting fortunes of human life. This sentiment was rooted in a profound awareness of the transient nature of the world, evident in the changing seasons and the unpredictable twists of human existence. At the heart of this awareness lies a significant concept—the solemn Buddhist principle of impermanence, which intersected with the aesthetic inclination towards profound engagement with the world. Poetry, painting (including on ceramics), traditionally revered as hallmarks of cultured refinement, drew strength from this awareness. Both the artist and the observer could sense a profound connection to essential Buddhist truths through artworks depicting flowers and decaying leaves, evoking a sense of melancholy over the fleeting beauty of existence.
Similar depiction of flowers and fruits, often with yellowing leaves, are seen on famille verte 'birthday plates', Kangxi. See one example illustrated in the Loan Exhibition: Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October - 2 November 2021, nos.12 and 19.
The fruits depicted on the present lot are also replete with auspicious symbolism. Peaches are often associated with longevity, immortality, and vitality. In Chinese mythology, the peach tree is believed to be the tree of immortality, and peaches are considered the fruit of the gods, bestowing longevity and eternal youth upon those who consume them. Pomegranates, on the other hand, symbolise fertility, abundance, and prosperity. With their numerous seeds, pomegranates represent the promise of abundance and the continuity of generations. Together, peaches and pomegranates embody auspicious wishes for longevity, prosperity, and happiness, making them popular motifs in Chinese porcelain art throughout history.
See a related group of three famille verte dishes, Kangxi, from the collections of Sir Harry Garner and Sir Alfred Aykroyd, illustrated by R.Krahl and C. von Spee, Chinese Ceramics from the Gulexuan Collection, London, 2003, pls.103-104. See also one related famille verte dish, Kangxi, illustrated by M.Beurdeley and G.Raindre, Qing Porcelain: Famille Verte, Famille Rose, London, 1987, pl.94.
Bid on this lot
The John E. Bodie OBE (1930-2023) Collection of Chinese Art 大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)中國藝術品收藏
A FINE PAIR OF FAMILLE VERTE SAUCER-DISHES
Chenghua six-character marks, Kangxi
Each finely potted with rounded sides supported on a short foot, the first dish with a fruiting branch of ripe peaches amidst verdant foliage in the well within a double red circle, the exterior with further branches of peaches and pomegranates, the second dish with a flowering branch of peonies in the well, the exterior with further peonies and branches of blossoming prunus, the bases of both vessels with underglaze-blue six-character marks within a double circle. The largest 17.7cm (6 7/8in) diam. (2).
清康熙 五彩花果紋盤一對
青花「大明成化年製」楷書款
Provenance: H.M. Knight (the dish with fruiting peach)
W.R.Bindley
Roger Keverne Ltd., London, December 2004 (letter)
Harry Hyams, acquired from the above and gifted to John E. Bodie, Christmas 2004
John E. Bodie OBE (1930-2023), London, collection no.17
Exhibited: Oosterse Schatten, Rijksmuseum, Amsterdam, 1954, no.347 (fruiting peach dish)
Published, Illustrated and Exhibited: The Oriental Ceramic Society, Arts of the Ch'ing Dynasty, London, 1964, no.183 (the fruiting peach dish)
The Oriental Ceramic Society, China Without Dragons, London, 3-9 November 2016, pp.312-313, no.185 (both dishes; labels). John E. Bodie loaned 7 pieces to the exhibition.
來源：H.M. Knight（桃紋盤）
W.R.Bindley
倫敦古董商Roger Keverne Ltd.，2004年12月（據信）
Harry Hyams，從上處獲得並在2004年聖誕節贈予John E. Bodie
大英帝國官佐勳章獲勳人John E. Bodie(1930-2023)，倫敦，藏品編號17
展覽：Oosterse Schatten，阿姆斯特丹國家博物館，阿姆斯特丹，1954年，編號347
（桃紋盤）
展覽著錄：東方陶瓷學會，《Arts of the Ch'ing Dynasty》，倫敦，1964年，編號183（桃紋盤）
東方陶瓷學會，《China Without Dragons》，倫敦，2016年11月3-9日，第312-313頁，編號185（兩隻盤；據標籤）。John E. Bodie 曾借展7件藏品給該展覽
Several dishes of similar style have been documented, featuring various combinations of fruiting and flowering branches in a distinctive colour scheme. These dishes typically lack underglaze-blue decoration and are characterised by double red lines encircling the designs and rims, often bearing spurious Chenghua marks.
One dish in this group showcases a fruiting peach branch on the interior and branches of cherry and loquat on the exterior, while another features a flowering pomegranate on the interior and begonia and a flowering fruit tree on the exterior. Utilising polychrome washes, the motifs are rendered in a naturalistic manner, with particular attention to detail evident in the depiction of leaves, some of which show signs of aging such as insect bites and yellowing.
Such attention to detail as the yellowing leaves reflect that the mark of a person of feeling in the late Ming and Qing dynasties was a poignant awareness of the transience of the phenomenal world, embodied alike in the changing seasons and in the shifting fortunes of human life. This sentiment was rooted in a profound awareness of the transient nature of the world, evident in the changing seasons and the unpredictable twists of human existence. At the heart of this awareness lies a significant concept—the solemn Buddhist principle of impermanence, which intersected with the aesthetic inclination towards profound engagement with the world. Poetry, painting (including on ceramics), traditionally revered as hallmarks of cultured refinement, drew strength from this awareness. Both the artist and the observer could sense a profound connection to essential Buddhist truths through artworks depicting flowers and decaying leaves, evoking a sense of melancholy over the fleeting beauty of existence.
Similar depiction of flowers and fruits, often with yellowing leaves, are seen on famille verte 'birthday plates', Kangxi. See one example illustrated in the Loan Exhibition: Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October - 2 November 2021, nos.12 and 19.
The fruits depicted on the present lot are also replete with auspicious symbolism. Peaches are often associated with longevity, immortality, and vitality. In Chinese mythology, the peach tree is believed to be the tree of immortality, and peaches are considered the fruit of the gods, bestowing longevity and eternal youth upon those who consume them. Pomegranates, on the other hand, symbolise fertility, abundance, and prosperity. With their numerous seeds, pomegranates represent the promise of abundance and the continuity of generations. Together, peaches and pomegranates embody auspicious wishes for longevity, prosperity, and happiness, making them popular motifs in Chinese porcelain art throughout history.
See a related group of three famille verte dishes, Kangxi, from the collections of Sir Harry Garner and Sir Alfred Aykroyd, illustrated by R.Krahl and C. von Spee, Chinese Ceramics from the Gulexuan Collection, London, 2003, pls.103-104. See also one related famille verte dish, Kangxi, illustrated by M.Beurdeley and G.Raindre, Qing Porcelain: Famille Verte, Famille Rose, London, 1987, pl.94.
