明十五世紀 藍釉梅瓶

of meiping form, the sturdily potted body gently broadening to a full, rounded shoulder and sweeping to a slightly tapered neck with a lipped rim, covered overall in a rich lapis lazuli-tone glaze thinning slightly at the neck and rim and falling irregularly at the foot, the interior glazed white, the base unglazed

In overall good condition with minor manufacturing imperfections, including scattered burst glaze bubbles, small bursts to the body (approx. 3-mm diameter, or smaller), and glaze flaws (including a few streaks of over-fired cobalt, longest is approx. 4.5 cm near foot). Minor expected wear to the surface and foot. Some orange streaking to the white glaze on the interior from the firing process.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Covered overall in a vibrant cobalt, the aesthetic origins of this piece can be traced to the early Ming dynasty when potters first attempted to craft meiping with monochrome blue glazes. Vessels of this type were expensive to produce as they required copious amounts of cobalt, a rare and costly commodity that needed to be imported from Central Asia. Each vase was dipped, possibly more than once, into a glaze mix containing cobalt oxide in order to achieve the distinctive dark blue tone seen on the present piece.

Compare a similar meiping, attributed to the 15th century, in the Metropolitan Museum of Art, New York, published in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 146;  another, in Japan, is illustrated in Sekai Toji Zenshu / Ceramic Art of the World, vol. 14, Tokyo, 1976, pl. 155.; and a third, from the Gulbenkian Museum, Durham, which sold at Christie’s New York, 21st September 2000, lot 296.