This flask-shaped bottle with a diminutive. Tankard Chinese, Ming dynasty ( ); Xuande mark and period (1426?3$) at these Zhushan kilns dur

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Camron Richard
5 years ago
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This flask-shaped bottle a diminutive mouth and a circular foot was formed on wheel and roughly flattened on two sides. It is covered a brown-black iron glaze that has at pooled base.

Its strong form and color create a robust presence. Iron-glazed bottles this type date pri marily from fifteenth and sixteenth cen turies.

n dynasty. In contrast, court-patronized punw?n kilns near capi tal, Hanyang (present-day Seoul), produced mostly porcelain.

1 This flask-shaped bottle a diminutive mouth and a circular foot was formed on wheel and roughly flattened on two sides. It is covered a brown-black iron glaze that has at pooled base. The circular body bottle is uneven contour. Its surface is in lumpy parts and shows minor scratches. These irregularities, far from being flaws, define vessel's aestic value. Its strong form and color create a robust presence. Iron-glazed bottles this type date pri marily from fifteenth and sixteenth cen turies. are They similar in to shape punch ong ware examples and have been found at punch ong kiln sites in sourn Korea, in provinces Ky?ngsang, Cholla, and a Ch'ungch'?ng. Along punch ong, pop ular group ceramics vibrantly decorated white ware slip, iron-glazed represents ceramic traditions regional kilns during Chos?n dynasty. In contrast, court-patronized punw?n kilns near capi tal, Hanyang (present-day Seoul), produced mostly porcelain. By end sixteenth Tankard Chinese, Ming dynasty ( ); Xuande mark and period (1426?3$) Porcelain painted H. $A2 in. (14 cm) in underglaze blue Purchase, Rogers Fund, Denise and Andrew Saul Gift, and The Vincent Astor Foundation Gift, Two types Chinese porcelain tankards were manufactured in fifteenth century; both m are likely to have originated in Middle Eastern metalwork. These forms Jiangxi Province. Significant manufacture porcelains decorated in underglaze cobalt blue had begun at se Zhushan kilns dur ing preceding Yuan dynasty, about middle fourteenth century. By fifteenth century this decorative tech nique had been refined to point that connoisseurs include Xuande blue-and-white porcelains among great classics in long history Chinese ceramics. jcyw/sgv century, however, demand for porcelain spread beyond court and capital, compelling kilns all over Korea to turn to sl porcelain production. were introduced into China traders from Islamic world at time Mongol rule ( ). After Mongols left, Chinese potters continued to produce vessels in "Islamic" forms like this one for export to Middle East and for domestic use. This tankard is inscribed Da Ming Xuande nian zhi (made during reign Xuande emperor Great Ming dynasty), written in a horizontal line on its shoulder. This in scription indicates that vessel was intended for use Xuande emperor, who reigned from 1426 to Archaeological evidence has shown that tankard was produced in imperial Zhushan kiln in complex Jingdezhen city, Flask-Shaped Bottle Korean, Chos?n dynasty ( ), 16th century Stoneware iron-brown glaze H. 9A4 in. (23.$ cm) Purchase, Parnassus Foundation/Jane and Raphael Bernstein Gift, The Metropolitan Museum Art is collaborating JSTOR to digitize, preserve, and extend access to The Metropolitan Museum Art Bulletin

Cherry, Plum, and Willow Trees f ap??ese, Momoyama period (i$73~i6i$), late 16th Six-panel century folding screen; ink, color, and gildedpaper 6oAs x J37A2 in. (i$3>4 x 349.

2 Cherry, Plum, and Willow Trees f ap??ese, Momoyama period (i$73~i6i$), late 16th Six-panel century folding screen; ink, color, and gildedpaper 6oAs x J37A2 in. (i$3>4 x cm) Gift Mary and Jackson Burke Foundation, gold Growing from foreground edge in center screen are two slender cherry trees in swaying opposite directions; trunk a third tree is almost hidden blos soms. The white flowers in full bloom, raised in relief gun (ground seashells), fill screen spirit middle almost spring. ground completely joyous A slender willow tree in sends down cascades new tender leaves, while a curving branch bearing red plum blossoms protrudes from left edge, right from turing suggesting on that screen was once side a pair. The tree branches emerge and disappear into golden clouds warm mistiness season. cap Cherished in hearts Japanese since ancient times, cherry trees were an essential me in painting, yet extant folding screens subject are surprisingly rare; ironically, y may have been victims ir own popularity. The gently swaying, slender tree trunks, grouping trees in center rar than to a side?as is usual in folding screens?and st curves scalloped edges gold-colored clouds point to an artist working close to Kano Mitsunobu ( ), eldest son great Momoyama-period master Eitoku (1543-I590). MM Seated Buddha Shakyamuni Afghanistan or Pakistan, ancient Gandhara, ist?2nd century Bronze H. 6As in. (16.8 cm) Gift Muneichi Nitta, ^93.1 Standing Buddha Shaky amuni Afghanistan or Pakistan, ancient Gandhara, $th?6th century Copper alloy H. 13 in. (33 cm) Gift Muneichi Nitta, $93.2 Alexander Great (d. ca. 323 b.c.) left a legacy strong links to classical world in ancient region Gandhara, today in borders Pakistan and Afghanistan. Reinforced subsequent rulers and contin ued contact through Mediterranean trade, this legacy led to a Gandharan style art dependent upon Hellenistic and Roman prototypes. Or influences contributed to this style, but classical flavor Gandharan sculpture under Kushans 50

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(r. ist-3rd century) is strong and unmistak able. The iconography, however, is almost completely Buddhist, resulting in a marriage that makes Gandharan art unique.

4 (r. ist-3rd century) is strong and unmistak able. The iconography, however, is almost completely Buddhist, resulting in a marriage that makes Gandharan art unique. Gandharan sculptural styles are well pre served rich remains in stone and stucco. A few rare small bronze images Buddha, usually following styles in stone, have also survived. The earliest and most important is this seated Buddha from Nitta collection, ten published and incalculable impor tance to history Buddha image. No or Asian Buddha owes so strong an allegiance to classical prototypes. Rar than following styles Gandharan stone Buddhas, it closely follows that Roman portrait sculptures. The Buddha sits in cross-legged yogic posture vajraparyankasana, soles both feet facing upward. His right hand makes fear-allaying abhayamudra; his left holds part his robe. The heavy folds garment are atypical for Gandhara. The Buddha's hair is in a bun on top wavy locks, and he has a mustache. Behind his head re is an unusual spoked halo. A few rare, bronze representations standing Buddha have also survived. These, however, are at some as-yet-undetermined chronological remove, probably as many as three centuries, from ir stone prototypes. This standing Buddha's right hand is raised in abhayamudra, and his lowered left holds a portion his robe. The treatment locks hair is neir Gandharan ( wavy "Hellenistic" manner seen on seated Buddha) nor that Mathura school, its small individualized whorls. Instead, it fol lows a late Kushan development in Gandhara radiating half-concentric bands hair. This figure is a particularly fine represen tative example Gandharan-style metal standing Buddha. It is distinguished large size, refined modeling, and very sculp tural treatment fabric folds. Also, physiognomy seems closer to Gandharan stone sculptures than to that most or cognate examples. ml Standing Bodhisattva Maitreya India, Jammu and Kashmir, or Pakistan Maitreya, messianic bodhisattva who waits to become Buddha next great Ca. 7th century Gilded and silvered copper alloy inlaid silver H. 18A2 in. (47 cm) Gift Muneichi Nitta, $93.3a,b world age (kalpa), posture (samabhanga), stands in a straight upright his right hand raised in reassuring gesture, abhayamudra. In his lowered left hand re is upper part sacred-water vessel this deity. usually held 52

5 The sumptuous jewelry, including neck lace, armbands, bracelets, and belt, is unusual shape and size, particularly neck lace and armbands. These features, along atypical arrangement garments, may refer to a historical ruler as depicted Maitreya. The is suggestion reinforced expression on this majestic image royal bodhi sattva, which an aura projects restrained authority and compassion. The size, superb modeling, great precision in handling drapery folds, and elabo detailing rate hair arrangement ( "Parthian bob") make it a very important sculpture. It is unusual for images from this region to be gilded, and, even more so, to be silvered (evident on This distinctive garments). Maitreya has some aspects in common sculptures recently attributed to western Tibetan kingdom Zhang Zhung. The composite base is not ml original. Standing Female Deity Cambodia, Angkor period, ist halfioth century Stone Koh Ker style, H. 61A2 in. (i$6.2 cm) Partial and Promised Gift Doris Wiener, in honor Martin Lerner, $ This almost lifesize image a female deity is in a style associated Jayarvarman IVs new capital Koh Ker, some forty miles norast Angkor. It is likely that it was originally left-hand figure a triad con sisting a god flanked his two consorts. The deity's hair is drawn up into a tall chignon composed individual braids, and she wears a flaring diadem across her brow. She is nude except for a long, finely pleated sampot, a wraparound skirt that flares at bottom and has a section drawn-up and folded-over fabric at front waist that spills down in a crescent large shape. This feature, lower edge which is partly broken in our sculpture, is characteristic Koh Ker style. The sculpture greatly enhances our eminent holdings Khmer art. smk 53

6 Seated Buddha on a Double-Lotus Base Burma, Pagan period, late nth century Bronze silver and copper inlay H. 9A4 in. (23.$ cm) Purchase, Florence and Herbert Irving and The Vincent Astor Foundation Gift, $. a, b This statue is a superb major addition to our collection Burmese art. Dating from earliest period ancient capital this Pagan, sculpture is closer than most or Burmese to examples contemporaneous Pala-period Indian models from Bodh Gay? (Bihar), site where Buddha reached In enlightenment. addition, it is in unique its cast retaining separately original base, which, like statue, is richly inlaid. Sty listic tendencies that later become exaggerated in most Burmese images Buddha can be seen in incipient form in our statue's sharp facial features and abstract smk body. 54

New York Susan Ollinick Hong Kong Rhonda Yung

New York Susan Ollinick Hong Kong Rhonda Yung Press Release New York For Immediate Release New York 212 606 7176 Susan Ollinick Susan.Ollinick@Sothebys.com Hong Kong 852 2822 8142 Rhonda Yung Rhonda.Yung@Sothebys.com Sotheby s New York to Hold Sale