THE ART MOTIF OF CHINA IMPERIAL CERAMIC FOUND IN INDONESIA
PART III. STUDIES RESULTS
Dr Iwan Suwandy , MHA
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Qing Imperial Landscape Stampcup
Late Ming landscape with euro trading ship and stupa temple motif plate with other motif below
- Foreign ship( VOC,EIC or Portugeus?) in the sea-gulf (where? may be Old Bantam port , but in hat area no stupa)
Native fisherman ship
The landscape at the beach of the gulf ,look at the traditional fisherman trap.at the rim of the soucers.
Dutch Indie Company (VOC) Port
Old Dutch VOC Tiles with Voc fort landscape
Late Ming landscape plate (may be Karanghantu port Banten lama where this plate was found)
sorry the illustration of below motif didnot upload
Qing landscape motif Sansui plate
Qing landscape with figure portueuos and chinaese
Compare with literatures info
A kraak plate medallion of good quality. The motifs included are the bird, the rock, flower arrangement and the moon all set in a seascape setting. These motifs suggest early morning and start of new life. The theme is also know to the Chinese as chun guang chang shou which also refers to ‘spring time and longevity’ All together, this theme connotes the blessing for vibrant youth, healthiness and long life This medallion is painted in crispy blue cobalt with the motifs well executed.
RARE bell cup from the Wanli (c.1625) shipwreck in good condition. There is however a fine, short hairline and some small fills to the handles. Resonance when tapped is very good. The base show a apocryphal six character
(Chenghua Nian Zao) reign mark of emperor Chenghua (1464-1487).
Landscape motif bowl from the Wanli (c.1625) shipwreck. These dishes
are likely to have been made at the Guanyinge kiln complex,
Jingdezhen, China, where similar production waster has been found. The main decorative motif; the bird on a rock, the flower arrangement and being surrounded by various emblems on the cavetto, represent the popular ‘spring time and longevity’ motif which was popular during the Ming dynasty. The motif of a lantern and tassel represents joy and festivities to the Chinese. A lantern is often given as a auspicious gift at weddings and play an important role in social and religious life.
Throughout the history of art in China, decorative motifs were applied not exclusively for their aesthetic value but also their symbolic implications. Daoism, the main religious philosophy of the time, dwelled on issues of harmony of man and the universe. Images of nature were widely featured during this period.
The natural world is celebrated with images of peonies signifying spring, the lotus for summer, the Chrysanthemum for autumn and Prunus for winter. Landscapes depicted on porcelain are inhabited by deer, birds, butterflies and crickets. There is also a fondness for highly symbolic images of dragons, phoenix and cranes.
Favorites in the Daoist pantheon are the Eight Immortals. The eight-paneled kraak plates (with scalloped flat rims) are decorated with images of motifs traditionally associated with the Immortals – fans, castanets, fly whisk and the double gourd bottle. Buddhist symbols such as sacred scrolls, the Swastika and the Artemisia leaf are also featured.
About apocryphal marks:
The 17 th century Portuguese and Dutch buyers required porcelain wares to have markings of some kind in the base. A letter from the Dutch headquarters in Batavia to their office in Taiwan request in 1610: “It should be seen to that all these afore-noted kinds of porcelain have under the bottom a blue seal, for about this they (the buyers) are very particular.”
Since the decorators were not allowed to paint the present emperors reign mark on export wares, they painted the mark of an previous emperor. Such marks are very common and always indicating and earlier production time. The present emperors’ reign mark could only be applied to imperial wares ordered by the palace