明宣德 局部鎏金銅纏枝蓮紋渣斗

the middle compressed globular section decorated with four large lotus flowers borne on leafy scrolls, the trumpet-shaped neck collared with long upright cusped lappets enclosing ascending vaporous clouds, the interior rim highlighted with a band of continuous tendrils repeated on the short flaring foot, the gilt design all with incised contours and details

歐林匹亞蘇富比2003年11月13日，編號654

Overall good condition, except for expected malachite encrustation on the surface which has been lightly cleaned. There are also typical minor dents, original casting flaws, surface wear and scratches to the gilding.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Notable for the attractive two-toned design of incised Indian lotus blooms framed by leafy undulating scrolls, all on an dramatic sweeping form, this vase is characteristic of bronze wares made in the Ming dynasty. The bronze renaissance of the Ming period saw craftsmen turn to archaic bronze shapes and reinterpret them into unique and innovative designs that were decorated with motifs inspired by contemporary silver, cloisonné enamel and porcelain wares.

A parcel-gilt bronze zhadou of this form and decorated with a similar meandering scroll of camellia below a band of upright bracket-lobed petals, but attributed to the late 15th / early 16th century, from the collection of Henri Cernuschi and preserved in the Cernuschi Museum, Paris, is included in Michel Maucuer, Bronzes de la Chine Impériale des Song aux Qing, Paris, 2013, pl. 59. Another bronze vase of similar form and decoration but attributed to the 16th century, from the collection of Johnny and Pauline Falk, was sold at Christie’s New York, 15th October 2001, lot 512.

The decoration of the present vase, with the flower scroll on the body flanked by a lappet band encircling the neck and scroll foot, matches those on contemporaneous porcelain; see a Xuande blue and white mark and period zhadou painted with a related design, sold in our London rooms, 30th November 1959, lot 23, and illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, pl. 657; and another from the collections of H.R. Norton and R.H.R. Palmer, sold at Christie’s Hong Kong, 17th November 1989, lot 570.

The zhadou form or leys jar, with its wide rim and globular body, is an ancient form that derives from archaic bronze zun. Over the centuries the original shape evolved to a wider rim and more compact body. While vases of this form are commonly called ‘spittoons’, it is unclear whether these vessels were actually used as such and by the Ming dynasty they appear to have been used to hold flowers. The form of the present lot, which first appeared in the 15th century, continued to be produced throughout the Ming and Qing dynasties (1644-1911), as seen in a silver inlaid zhadou attributed to the late 17th century, from the Water Pine and Stone Retreat collection, included in the Oriental Ceramic Society exhibition Arts from the Scholar’s Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. no. 153, and sold in these rooms, 8th April 2014, lot 248.