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Antique Inlaid Black Lacquer Mother of Pearl Eagle Wall Art

A Magnificent mother-of-pearl-inlaid black lacquer (bao Luodian) octagonal oblong tray

Ming Dynasty, 15th-16th Century
The heart of the tray decorated in the Yuan style with a pavilion terrace scene with two gentlemen seated at a table whilst beingness served wine by an attendant and listening to female musicians alongside, all nether the eaves of a pavilion on a fenced terrace surrounded past a lotus pond with a pair of standard mandarin ducks, rockwork, willow, bamboo and encroaching mist, the well decorated with a composite floral ringlet of thirty-iv flower-heads which is echoed on the exterior above modest lappets.
22 1/2 ten 14in (57 x 35.5cm)

Footnotes

  • 明 十五至十六世紀 黑漆嵌螺鈿人物樓閣圖八角盤

    For another octagonal dish dated to the second half of the 15th Century but as well displaying certain Yuan characteristics such as the scrolling floral border with individual blossom-heads and with the key scene of a gathering in a courtly setting, and very similar treatment of globe-trotting mist-clouds and striated rockwork, see James C. Y. Watt and Barbara Brennan Ford, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991, pp.131-132, no. 58. See as well ibid., pp.124-125, no. 54 and pp. 135-136, no. threescore, the first, a Yuan dynasty 9-sided dish with similar edge handling, the second, a dish dated to the sixteenth century with elegant ladies with similarly-treated coiffered hair and facial features.

    See Karamano, Imported Lacquerwork-Chinese, Korean and Ryukyuan (Okinawa), Selections From The Tokugawa Art Museum, No. 2,Nagoya, 1997, pp. 69-74, no'southward 125-135, for a group of Ming lacquer wares with similar courtly pavilions and figural scenes dated to the xv/16th Centuries. However an before tray with an almost identical border ornamentation bearing an added Huang-Qing (Ming era) painted mark only dated to the Yuan Dynasty does deport very close comparison. Indeed based on the border-decoration alone, both exterior and interior, a Yuan engagement for our tray would non be out of the question. However, the central design of our tray, and in detail the treatment of inlay and incised details, (rather more detailed and precise than the loosely-incised markings on the Yuan antecedent) institute on the figures themselves, the clothing, architectural details and areas of rockwork, suggests a Ming dating, whilst still clearly in an overall Yuan fashion.

    For other Yuan and early Ming dynasty dishes with similar courtly pavilion scenes and scrolling multi-flowerhead borders, run across the Catalogue, Special Exhibition, Oriental Lacquer Arts, Tokyo National Museum, Tokyo, 1977, no. 492, for a circular dish (13 1/2 inches diam.) dated Yuan/early Ming Dynasty, from the Hakutsuru Art Museum, Hyogo; and also The Colors and Forms of Song and Yuan China, Featuring Lacquerwares, Ceramics and Metalwares, Nezu Establish of Fine Arts, Tokyo, 2004, no'south 124-125, the latter box besides octagonal in shape, a popular one during the Yuan dynasty. Another case, nine-sided, is illustrated by Denise Patry Leidy, Female parent-of-Pearl, A Tradition in Asian Lacquer, The Metropolitan Museum of Art, New York, 2006, pp.26-31, figs 22-24.

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