A very rare Chinese blue and white jar for the Portuguese Jesuit market, Ming dynasty c. 1610 – 1630 by Unknown artist
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A very rare Chinese blue and white jar for the Portuguese Jesuit market, Ming dynasty c. 1610 – 1630 1610 - 1630

Unknown artist

PorcelainChinese porcelain
12.90 cm, ø 8.50 cm
ConditionGood
Price on request

Menken Works of Art

  • About the artwork
    A very rare Chinese blue and white jar for the Portuguese Jesuit market.
    Ming dynasty, c. 1610 – 1630.

    The small jar of baluster fluted form with six lobes on a high, spreading foot with a deep recessed base, the neck with everted rim, some kiln grit adhering to the unglazed thick foot rim. The jar decorated in underglaze blue with three cherub heads applied in relief, their wings painted with pendant grape vines beneath, alternating with flower sprays growing out of rocky outcroppings, and lotus blossoms. Another lotus blossom pattern around the base of the foot reserved in white against a blue background.

    At first, the combination of angelic figures with Chinese-inspired floral patterns might seem purely decorative and influenced by Western aesthetics. However, when compared to related jars, where the flower sprays are replaced by emblems of Christ’s Betrayal, Crucifixion, Passion and Descent from the Cross, a deeper Christian symbolism becomes apparent, even in this seemingly ornamental context. The pairing of angels with grape motifs further suggests a Eucharistic theme—though the usual symbol of wheat is missing, its presence may be subtly alluded to through the floral designs. These small vases, likely inspired by European metalwork or goldsmith objects, were possibly intended for use within church interiors, perhaps serving a decorative function.

    Provenance:
    Formerly in a private European collection, acquired from Jorge Welsh (according to sticker).

    Lit:
    An identical jar is in the RA Collection, published in The RA Collection of Chinese Ceramics: A Collector’s Vision, Maria Antónia Pinto de Matos, 2011, volume one, no. 73, p. 188.
    Another example is in the British Museum London, Museum number: Franks.1397.a, illustrated in Ming Ceramics in the British Museum, Harrison-Hall, 2001, p. 376, по 12:61
    Also see Christie’s London, Chinese Ceramics and Works of Art Including Export Art Sale, Tuesday 11 July 2006, p. 171, lot 174.

    Dimensions:
    Height 12.9 cm diameter 8.5 cm.

    Condition report available upon request.

    Worldwide registered and insured shipping

    Inv. No: MW309
  • About the artist

    It might happen that an artist or maker is unknown.

    Some works are not to be determined by whom it is made or it is made by (a group of) craftsmen. Examples are statues from the Ancient Time, furniture, mirroirs, or signatures that are not clear or readible but as well some works are not signed at all.

    As well you can find the following description:

    •“Attributed to ….” In their opinion probably a work by the artist, at least in part

    •“Studio of ….” or “Workshop of” In their opinion a work executed in the studio or workshop of the artist, possibly under his supervision

    •“Circle of ….” In their opinion a work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil

    •“Style of ….” or “Follower of ….” In their opinion a work executed in the artist’s style but not necessarily by a pupil; may be contemporary or nearly contemporary

    •“Manner of ….” In their opinion a work in the style of the artist but of a later date

    •“After ….” In their opinion a copy (of any date) of a work of the artist

    •“Signed…”, “Dated….” or “Inscribed” In their opinion the work has been signed/dated/inscribed by the artist. The addition of a question mark indicates an element of doubt

    •"With signature ….”, “With date ….”, “With inscription….” or “Bears signature/date/inscription” in their opinion the signature/ date/ inscription has been added by someone other than the artist

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