‘From Innovation to Conformity, Chinese Lacquer from the 13th to 16thcenturies’, Krahl & Morgan, Bluett, London 1989, no.15
‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, Julia White, Honolulu Academy of Art, 2006, no.27., p. 76-77
The round cup stand decorated with a dense design of peonies and chrysanthemum amidst foliage, revealing a pale yellowish-brown background. The mallow-shaped plate and slightly flaring foot are carved with further flowers and corresponding leaves. The interior in plain black lacquer. The inside of the foot incised with a six-character Yongle mark.
Interestingly, on this cup stand, each band of decoration on the cup, plate and foot is carved with just one single chrysanthemum set amidst multiple peony blossoms. The peony symbolises rank while chrysanthemum is associated with longevity. Therefore, this cup stand may have been created for an important occasion. Lacquer cup stands were intended to support a ceramic bowl, thereby serving a very functional purpose in tea ceremonies as well as other important activities for the Emperor and the Imperial Court.[1]
Compare a similar cup stand with floral decoration, also Yongle mark and of the period, in the collection of the Palace Museum, Beijing.[2]
References:
[1] Julia M. White, ‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, Honolulu Academy of Arts, 2002, p. 76
[2] Zhu Jiajin and Xia Gengqi, eds., ‘Zhongguo qiji quanji (Lacquer Treasures from China), vol. 5: Ming (Ming)’, Fujian, China, 1998, cat. no. 26, p. 23
An important carved red lacquer cup stand (Ming dynasty, Yongle mark and period, 1403-1424)
Description
Dimensions: 7.6cm high, 17.1cm diameter
Provenance:
Bluett & Sons, London, 1987
J.J. Lally, New York, 1987
Bluett & Sons, 1990,
Michael H. Healy, 1990
Anthony Carter, London, 2015
A private Asian collection
Exhibited:
Bluett & Sons London, 1989
Honolulu Academy of Art, 2002
China Institute of America, New York, 2005
Santa Barbara Museum of Art, 2006
Museum für Lackkunst, Münster, 2007
Illustrated:
‘From Innovation to Conformity, Chinese Lacquer from the 13th to 16thcenturies’, Krahl & Morgan, Bluett, London 1989, no.15
‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, Julia White, Honolulu Academy of Art, 2006, no.27., p. 76-77
The round cup stand decorated with a dense design of peonies and chrysanthemum amidst foliage, revealing a pale yellowish-brown background. The mallow-shaped plate and slightly flaring foot are carved with further flowers and corresponding leaves. The interior in plain black lacquer. The inside of the foot incised with a six-character Yongle mark.
Interestingly, on this cup stand, each band of decoration on the cup, plate and foot is carved with just one single chrysanthemum set amidst multiple peony blossoms. The peony symbolises rank while chrysanthemum is associated with longevity. Therefore, this cup stand may have been created for an important occasion. Lacquer cup stands were intended to support a ceramic bowl, thereby serving a very functional purpose in tea ceremonies as well as other important activities for the Emperor and the Imperial Court.[1]
Compare a similar cup stand with floral decoration, also Yongle mark and of the period, in the collection of the Palace Museum, Beijing.[2]
References:
[1] Julia M. White, ‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, Honolulu Academy of Arts, 2002, p. 76
[2] Zhu Jiajin and Xia Gengqi, eds., ‘Zhongguo qiji quanji (Lacquer Treasures from China), vol. 5: Ming (Ming)’, Fujian, China, 1998, cat. no. 26, p. 23
Information
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