此永樂青花盤鈷青濃郁，紋飾雅致流麗，乃明初瓷藝成就之佳證。此類瓷器為宮廷所用，亦作為外交禮品贈送於各國。這段期間瓷藝技術復興、擴展並進步，所製之器自古以來備受珍愛，歷世珍藏於名家手中。
480萬港元成交！
本盤原屬於一組珍稀小盤，直徑均小於二十公分，花瓣形盤口、弧形內壁、鮮明花卉紋飾及規整之圈足。此類珍貴盤器設計自由奔放，搭配鋭利的花瓣盤口，並融入明代瓷器典型，精妙運用鈷青與空間留白，為永樂年間（1403–1424年）宮廷監督下景德鎮御窯廠所製作之絕佳瓷器。
此盤之器型和紋飾應似源自洪武時期（1368–1398年）釉裏紅，或是更加罕見的青花釉釉裏紅托盞。不同於前代托盞，此類盤型裏心無槽，中心改採用圓形紋飾設計，呼應早期器型。可參閱《故宮博物院藏文物珍品全集：青花釉裏紅（上卷）》，香港，2000年，圖版82。
相比之下，本盤無明顯圓形紋飾，蓮花中心與外圍靈芝紋自然過渡，體現永樂時期井然有序、平衡之美。比較另一例無中心圓形紋之盤，飾以葡萄藤與靈芝紋，出土於1994年景德鎮永樂地層，見梁穗編《景德鎮出土元明官窯瓷器》，北京，1999年，圖版61。
再比極為相似之例，藏於北京故宮博物院，見《故宮博物院藏文物珍品全集：青花釉裡紅（上卷）》，香港，2000年，圖版81。另有兩例刻有阿拉伯銘文，分別售於倫敦蘇富比1978年12月12日及2023年11月1日，編號381（圖1）及2，後者與此盤出自同一收藏；亦可參考大英博物館珍藏之三例，分別來自大維德中國藝術基金會（館藏號PDF,B.683）、亨利‧奧本海姆舊藏（1947,0712.199）及約翰‧艾惕思爵士收藏（1975,1028.11）。
儘管當時多數瓷器經由絲路直接從中國運至伊朗，然而數件精品包括此盤，帶有前收藏者之標記，約於1611年才呈獻給阿巴斯大帝。此盤圈足上鑽有兩小孔，乃前收藏者之標記。在送往奧斯曼帝國宮廷的明代盤中，亦可見類似標記，可參考伊斯坦堡托普卡匹皇宮博物館中一件十五世紀青花盤及七件青瓷器物，見Nurdan Erbahar於《中東托普卡匹皇宮博物館藏中國陶瓷》中「非中國標記與銘文」一文，倫敦，1986年，頁125-138。
估價
80,000 - 120,000 GBP
出處
沙阿．阿巴斯（1588–1629年）收藏
現藏家之父親於1960年代得自歐洲
著錄
John Pope，《 Chinese Porcelains from the Ardebil Shrine》， 華盛頓，1956年，圖版29.271
the reverse of the dish bears the ‘Shah Abbas’ mark in Arabic-script
Diameter 19.3 cm, 7⅝ in.
Condition Report
Some light wear to the surface, and a minor crack to the rim, which was separated into two parts, with a tiny associated flake, all professionally restored.
通體有少許磨損，口沿一角曾裂成兩塊，另有一小處相關的剝釉，均已修復。
Provenance
Collection of Shah Abbas (1588-1629).
Acquired in Europe by the father of the present owner in the 1960s.
Literature
John Pope, Chinese Porcelains from the Ardebil Shrine, Washington, 1956, pl. 29.271.
Glowing in a rich palette of cobalt blue, the present dish is an exquisite example of the finest porcelain produced in the early Ming dynasty. Wares from this vibrant period of restoration, expansion and technical progress are among the most important and desirable pieces ever produced and have been treasured in important collections for centuries.
Collection of Shah Abbas (1588-1629).
This exemplary piece is a member of a rare and fascinating group of small dishes – each just under twenty centimetres in diameter – with bold foliate rims, cavetto-moulded wells, vibrant floral decoration, and neatly trimmed foot-rings. Combining the free-spirited designs and sharp foliate rims of yesteryear with the rich blue tone and tasteful treatment of negative space typical of the finest Ming wares, this remarkable group were among the exemplary wares produced under new imperial supervision at the porcelain kilns of Jingdezhen during the Yongle reign (1403-1424).
In form and design, these small Yongle dishes appear to be derived from cup stands decorated with copper red and, more rarely, underglaze blue during the Hongwu period (1368-1398). Indeed, while these dishes lack the trembleuse rim once used to accommodate a cup, some examples make a conspicuous nod to this earlier type by incorporating a central medallion into their design: compare a related dish featuring a central lotus roundel surrounded by a key-fret border, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, pl. 82. In contrast, lacking a formal circular motif and with a seamless transition between a stylised lotus centre and the scrolling lingzhi beyond, the present design is firmly rooted in the ordered balanced beauty of the Yongle visual canon. Compare another dish of this form without a central roundel, decorated with a grape vine and lingzhi scrolls, excavated from the Yongle stratum at Jingdezhen in 1994 in Liang Sui (ed.), Yuan’s and Ming’s Imperial Porcelains Unearthed from Jingdezhen, Beijing, 1999, pl. 61.
Compare a very similar dish in the Palace Museum, Beijing, illustrated in The Complete Collection, op. cit., pl. 81. See also two other dishes of this rare form bearing Ardabil waqf marks, the first, illustrated alongside the present lot in John Pope, Chinese Porcelains from the Ardebil Shrine, Washington, 1956, pl. 29.274, and sold in these rooms, 12th December 1978, lot 381 (fig. 1) and the second, sold on 1st November 2023, lot 2, from the same collection as the present lot; and three others from important early collections preserved in the British Museum, London: one from the collection of Sir Percival David, acc. no. PDF,B.683; another from the collection of Henry J. Oppenheim, acc. no. 1947,0712.199; and a third example from the collection of Sir John Addis, acc. no. 1975,1028.11.
Although some pieces may have entered the Shah’s collection directly from China, coming to Iran across the vast Silk Road by land and sea, many of the finest pieces – such as the present dish – show signs of previous ownership and must have been given to the Shah before or at the time of the donation in 1611. Two small holes drilled into the foot of the present dish, for example, once served as an ownership mark of another great collection now lost to history. Similar two-dot marks also appear on a number of Ming dishes that made their way to the Ottoman court, preserved in the Topkapi Saray Museum, Istanbul, including a 15th century blue-and-white dish and seven celadon pieces; see Nurdan Erbahar, “Non-Chinese Marks and Inscriptions”, In Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, London, 1986, pp 125-138.
Yongle Blue-and-White Dish FAQ
What is the historical significance of this Yongle blue-and-white dish?
This dish represents the peak of porcelain artistry in the early Ming dynasty. Made during the Yongle reign (1403-1424) at Jingdezhen, it exemplifies the revival, expansion, and technical progress of porcelain production during that period. Such pieces were highly prized by the imperial court and often given as diplomatic gifts to other nations. This dish, therefore, signifies both artistic excellence and diplomatic relations during a pivotal era in Chinese history.
What are the distinctive features of this type of dish?
This dish belongs to a rare group characterized by a diameter under 20 cm, a bold foliate (petal-shaped) rim, a cavetto-moulded well (curved inner wall), vibrant floral decoration, and a neatly trimmed foot-ring. The design combines free-flowing elements with a skillful use of negative space, resulting in a balanced and ordered aesthetic typical of the Yongle period. This particular dish seamlessly transitions from a stylized lotus center to scrolling lingzhi (fungus of immortality) patterns, further emphasizing the harmonious composition.
What is the connection between this dish and Shah Abbas?
Though originally made in China, the dish bears the mark of Shah Abbas (1588-1629) in Arabic script on its reverse, indicating it was part of his collection. While some pieces in his collection came directly from China via the Silk Road, this dish, along with many others, shows signs of previous ownership, suggesting it was presented to the Shah as a gift around 1611. Two small holes drilled into the foot of the dish are believed to be ownership marks from a previous collection now lost to history.
How does the design of this dish relate to earlier porcelain styles?
The form and design of these Yongle dishes derive from cup stands made during the Hongwu period (1368-1398). These earlier cup stands were often decorated with copper red or, less frequently, underglaze blue. While this Yongle dish lacks the trembleuse rim (designed to hold a cup) of its predecessor, the design elements pay homage to the earlier style. Notably, this dish deviates from some others in its group that incorporate a central medallion referencing the cup stand's function. Instead, this piece showcases a more fluid and integrated design characteristic of Yongle aesthetics.
Are there any other similar dishes known to exist?
Yes, similar dishes are held in notable collections worldwide. A comparable dish is housed in the Palace Museum in Beijing. Additionally, two other dishes with Ardabil waqf marks (indicating they were part of a charitable endowment) were sold at Sotheby's auctions, one in 1978 and the other in 2023. The British Museum in London also possesses three examples from prominent collections: the Sir Percival David collection, the Henry J. Oppenheim collection, and the Sir John Addis collection.
What can the two holes in the foot of the dish tell us?
The two small holes drilled into the foot of the dish likely served as ownership marks from a previous collection before it became part of Shah Abbas's collection. Similar two-dot marks have been found on Ming dynasty dishes in the Topkapi Saray Museum in Istanbul, suggesting a possible connection to the Ottoman court. This evidence highlights the intricate network of trade and diplomatic gift-giving that connected China, Persia, and the Ottoman Empire during this period.
What is the current condition of the dish?
The dish exhibits some light wear on its surface and a minor crack on the rim. It was previously separated into two parts with a small associated flake. However, all these issues have been professionally restored, ensuring its structural integrity and preserving its visual appeal.
Where can I find more information about this specific dish?
This dish is documented in John Pope's book, Chinese Porcelains from the Ardebil Shrine, published in Washington in 1956 (plate 29.271). The book provides detailed descriptions and images of Chinese porcelain pieces from the Ardebil Shrine collection, offering valuable insights into this dish's provenance and historical context.
Timeline of Events
1368-1398: Production of underglaze blue and copper red decorated cup stands flourishes during the Hongwu period in China. These cup stands would later inspire the design of the Yongle dishes.
1403-1424: Production of the small, foliate-rimmed Yongle dishes, including the dish in question, takes place at the Jingdezhen imperial kilns under strict imperial supervision during the Yongle reign.
1588-1629: Reign of Shah Abbas I of Persia.
1599: Shah Abbas sends his first diplomatic mission to Europe, seeking allies against the Ottoman Empire.
1602: The Iranian army, under Imam Quli Khan Undiladze, expels the Portuguese from Bahrain.
1611: A large donation of Chinese porcelain, possibly including the Yongle dish, is made to Shah Abbas. The dish features two drilled holes on the foot, suggesting previous ownership in a now-lost collection.
1622: Shah Abbas, aided by the English East India Company, recaptures Hormuz from the Portuguese. He establishes a new port, Bandar Abbas, nearby.
1956: John Pope publishes "Chinese Porcelains from the Ardebil Shrine," featuring the Yongle dish (plate 29.271) and highlighting the "Shah Abbas" mark on its reverse.
1960s: The father of the current owner acquires the Yongle dish in Europe.
2023: The Yongle dish, formerly part of the Shah Abbas collection, is auctioned at Sotheby's on November 1st.
Cast of Characters
Shah Abbas I (1571-1629): The fifth Safavid Shah of Iran, known as Abbas the Great. A powerful and effective ruler, he revitalized the Safavid Empire through military reforms, diplomatic initiatives, and cultural patronage. He was an avid collector of art, including Chinese porcelain.
Imam Quli Khan Undiladze (?-?): A Safavid military leader of Georgian origin. He commanded the Iranian forces that expelled the Portuguese from Bahrain in 1602.
John Pope (1906-1982): A prominent American scholar of Chinese art. He served as the curator of Far Eastern Art at the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution. His book, "Chinese Porcelains from the Ardebil Shrine," published in 1956, remains a seminal work in the field.
Nurdan Erbahar (?-?): A scholar specializing in Chinese ceramics at the Topkapi Saray Museum, Istanbul. Her research focuses on identifying and interpreting non-Chinese marks and inscriptions found on Chinese porcelain in the museum's collection.
The current owner: An individual who inherited the Yongle dish from their father, who acquired it in Europe during the 1960s. The owner decided to auction the dish at Sotheby's in 2023.
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