Quintessence of Imperial Kiln Porcelain of the Ming Dynasty

from the Palace Museum Collection

Ilustration

<p>Blue-and-white Meiping Vase with a Pair of Dragons Amidst Lotus Scrolls, Wanli Period and Mark</p> <p>Wanli Period (1573–1620)<br /> 43 cm ︱Ø 6.7 ~ 15 cm</p> <hr /> <p><strong>About the exhibition</strong></p> <p>From ancient times to the present, porcelain is the most commonly used ware by ordinary people in their everyday life, and also the main utensil in the royal court of the past dynasties. In the Ming Dynasty (1368–1644), the court used a large scale of ceramics for decorative items, daily lives, religious rituals, and internal and external tributes. To meet these needs, the Ming imperial court set up royal kilns in Jingdezhen (the “Imperial Porcelain Factory” in the Ming Dynasty, and nowadays it is often called “Imperial Kiln” or “Official Kiln”) to develop royal porcelain, and also appointed local folk kilns to create porcelain wares and accepting these as tribute.</p> <p>As one of the symbols that highlight the emperor’s absolute authority, the imperial kiln porcelain was used merely by the emperors and their families and was forbidden to be owned or used by anyone except as awarded or gifted by the emperors. The fabrication of imperial kiln porcelain featured strict management systems in all aspects, from product design to production, inspection and acceptance, transportation until its use. Obviously, the final destination of these products was the royal court of the Ming Dynasty, represented by the Forbidden City.</p> <p>The Palace Museum, located at the former site of the Forbidden City of the Ming and Qing Dynasties, is currently the national museum with the largest and finest collection of porcelain from the imperial kilns of the Ming Dynasty. Based on the fruitful achievements accumulated by the Palace Museum in the research and exhibition of imperial kiln porcelain of the Ming Dynasty over the years, therefore, this exhibition has selected 120 representative pieces from imperial kilns produced in the Hongwu to Wanli periods (1368–1620), engaging the public in Macao with a more comprehensive understanding of the varieties of porcelain made in the imperial kilns of Jingdezhen in the Ming Dynasty, as well as, their artistic achievements.</p>

Blue-and-white Meiping Vase with a Pair of Dragons Amidst Lotus Scrolls, Wanli Period and Mark

Wanli Period (1573–1620)
43 cm ︱Ø 6.7 ~ 15 cm

About the exhibition

From ancient times to the present, porcelain is the most commonly used ware by ordinary people in their everyday life, and also the main utensil in the royal court of the past dynasties. In the Ming Dynasty (1368–1644), the court used a large scale of ceramics for decorative items, daily lives, religious rituals, and internal and external tributes. To meet these needs, the Ming imperial court set up royal kilns in Jingdezhen (the “Imperial Porcelain Factory” in the Ming Dynasty, and nowadays it is often called “Imperial Kiln” or “Official Kiln”) to develop royal porcelain, and also appointed local folk kilns to create porcelain wares and accepting these as tribute.

As one of the symbols that highlight the emperor’s absolute authority, the imperial kiln porcelain was used merely by the emperors and their families and was forbidden to be owned or used by anyone except as awarded or gifted by the emperors. The fabrication of imperial kiln porcelain featured strict management systems in all aspects, from product design to production, inspection and acceptance, transportation until its use. Obviously, the final destination of these products was the royal court of the Ming Dynasty, represented by the Forbidden City.

The Palace Museum, located at the former site of the Forbidden City of the Ming and Qing Dynasties, is currently the national museum with the largest and finest collection of porcelain from the imperial kilns of the Ming Dynasty. Based on the fruitful achievements accumulated by the Palace Museum in the research and exhibition of imperial kiln porcelain of the Ming Dynasty over the years, therefore, this exhibition has selected 120 representative pieces from imperial kilns produced in the Hongwu to Wanli periods (1368–1620), engaging the public in Macao with a more comprehensive understanding of the varieties of porcelain made in the imperial kilns of Jingdezhen in the Ming Dynasty, as well as, their artistic achievements.

<p>Underglazed Red Yuhuchun Vase with Pine, Bamboo and Plum Design</p> <p>Hongwu Period (1368–1398)</p> <p>33.3 cm ︱Ø 8.7 ~ 11.3 cm</p> <hr /> <p>The vase is in a baluster form with a flared rim, a short neck and a straight foot ring. The vessel’s interior and exterior and the inner foot ring are coated in a white glaze, leaving the foot rim unglazed. The entire body is decorated with underglazed red. A band of leaf scrolls encircles the inside mouth rim and near the foot. Three layers of patterns are painted in sequence from the mouth to the lower neck, namely, plantain leaves, square spirals and leaf scrolls, all between string patterns. The body is painted with pine, bamboo and plum in different shapes and postures, among rocks, flowers and plantains, giving a fresh and elegant look. No reign mark.</p> <p>The development of underglazed red porcelain in the Hongwu period (1368–1398) of the Ming Dynasty was still in the primary stage. Since the high-temperature copper-red glaze had extremely high requirements on the conditions of the kiln room, there were very few bright patterns in the finished products after firing. The vase, with elegant and dignified style, pure underglaze red colour and appropriate patterns and compositions, is one of the finest among the imperial kiln porcelain from the Hongwu period of the Ming Dynasty.</p>

Underglazed Red Yuhuchun Vase with Pine, Bamboo and Plum Design

Hongwu Period (1368–1398)

33.3 cm ︱Ø 8.7 ~ 11.3 cm

The vase is in a baluster form with a flared rim, a short neck and a straight foot ring. The vessel’s interior and exterior and the inner foot ring are coated in a white glaze, leaving the foot rim unglazed. The entire body is decorated with underglazed red. A band of leaf scrolls encircles the inside mouth rim and near the foot. Three layers of patterns are painted in sequence from the mouth to the lower neck, namely, plantain leaves, square spirals and leaf scrolls, all between string patterns. The body is painted with pine, bamboo and plum in different shapes and postures, among rocks, flowers and plantains, giving a fresh and elegant look. No reign mark.

The development of underglazed red porcelain in the Hongwu period (1368–1398) of the Ming Dynasty was still in the primary stage. Since the high-temperature copper-red glaze had extremely high requirements on the conditions of the kiln room, there were very few bright patterns in the finished products after firing. The vase, with elegant and dignified style, pure underglaze red colour and appropriate patterns and compositions, is one of the finest among the imperial kiln porcelain from the Hongwu period of the Ming Dynasty.

<p>Blue-and-white “Press-hand” Cup with Lotus Scrolls, Yongle Period and Mark</p> <p>Yongle Period (1403–1424)<br /> 5.4 cm ︱Ø 6.3 ~ 3.9 cm</p> <hr /> <p>The “press-hand” cup has a flared rim, a deeply curved wall and a shallow foot. White glaze is applied to the inner and outer walls, leaving the foot rim unglazed. The entire body is decorated in underglaze blue. The interior bottom of the cup is painted with a five-petal sunflower, and in the centre, a four-character reign mark of Yongle period is inscribed in blue seal script, in two lines. The mouth of the outer wall is encircled with a band of five-petal plum pattern, while the body is set with lotus scrolls. A band of leaf scrolls pattern adorns the area near the foot. </p> <p>The Blue-and-white “press-hand” cup with lotus scrolls of the Yongle period was the first to mark the production year among the imperial kiln porcelain in the Ming Dynasty. It is consistent with historical records and has significant historical value.</p> <p>Once this cup appeared, it was imitated by later generations. In the Zhengde (1506–1521) and Wanli (1573–1620) periods of the Ming Dynasty, the Kangxi period (1662–1722) of the Qing dynasty, the Republic of China, and the 1980s, many copies of the floral scroll “press-hand” cup were produced.</p>

Blue-and-white “Press-hand” Cup with Lotus Scrolls, Yongle Period and Mark

Yongle Period (1403–1424)
5.4 cm ︱Ø 6.3 ~ 3.9 cm

The “press-hand” cup has a flared rim, a deeply curved wall and a shallow foot. White glaze is applied to the inner and outer walls, leaving the foot rim unglazed. The entire body is decorated in underglaze blue. The interior bottom of the cup is painted with a five-petal sunflower, and in the centre, a four-character reign mark of Yongle period is inscribed in blue seal script, in two lines. The mouth of the outer wall is encircled with a band of five-petal plum pattern, while the body is set with lotus scrolls. A band of leaf scrolls pattern adorns the area near the foot. 

The Blue-and-white “press-hand” cup with lotus scrolls of the Yongle period was the first to mark the production year among the imperial kiln porcelain in the Ming Dynasty. It is consistent with historical records and has significant historical value.

Once this cup appeared, it was imitated by later generations. In the Zhengde (1506–1521) and Wanli (1573–1620) periods of the Ming Dynasty, the Kangxi period (1662–1722) of the Qing dynasty, the Republic of China, and the 1980s, many copies of the floral scroll “press-hand” cup were produced.

<p>Bright Red Glazed Dish</p> <p>Yongle Period (1403–1424)<br /> 4 cm ︱Ø 20.3 ~ 12.4 cm</p> <hr /> <p>The dish has a wide rim, rounded sides with a foot ring. The entire body is in a red glaze, while the base is in a white glaze. Due to the downward flow of the red glaze at the high temperature, the vessel displayed its original body clay, having a white rim. With a regular shape, light potting, and bright glaze, it is a representative work of the bright red glazed porcelain in the Yongle period (1403–1424).</p> <p>The red glaze is made by firing the lime glaze at a high temperature with copper as a colouring agent. During the Yongle and Xuande (1426–1435) periods of the Ming Dynasty, the Jingdezhen imperial kiln factory produced brilliant and eye-catching red-glazed porcelain. Since the glaze was mostly gorgeous and even, the products were admired by many people. It was also named fresh red, ruby red and sacrificial red.</p>

Bright Red Glazed Dish

Yongle Period (1403–1424)
4 cm ︱Ø 20.3 ~ 12.4 cm

The dish has a wide rim, rounded sides with a foot ring. The entire body is in a red glaze, while the base is in a white glaze. Due to the downward flow of the red glaze at the high temperature, the vessel displayed its original body clay, having a white rim. With a regular shape, light potting, and bright glaze, it is a representative work of the bright red glazed porcelain in the Yongle period (1403–1424).

The red glaze is made by firing the lime glaze at a high temperature with copper as a colouring agent. During the Yongle and Xuande (1426–1435) periods of the Ming Dynasty, the Jingdezhen imperial kiln factory produced brilliant and eye-catching red-glazed porcelain. Since the glaze was mostly gorgeous and even, the products were admired by many people. It was also named fresh red, ruby red and sacrificial red.

<p>Sweet White Glazed Meiping Vase with Incised Lotus Scrolls</p> <p>Yongle Period (1403–1424)<br /> 24.5 cm ︱Ø 4.3 ~ 10.1 cm</p> <hr /> <p>The vase has a small mouth and short neck with full and broad shoulders. The round body tapers downwards to the splayed base. The whole vessel is coated in a white glaze, and the incised lotus scrolls can be seen apparently under this bright and translucent white glaze.</p> <p>The designation of sweet white glaze is classified as one of the exquisite white-glazed porcelain produced at high-temperature in the imperial kilns of the Yongle period (1403–1424), often in the shape of Meiping vase, Yuhuchun vase, pot with double loop handles, bowl and dish. This white glaze is very translucent and lustrous, giving a touch of sweet white sugar, so it has been named “sweet white glaze”.</p>

Sweet White Glazed Meiping Vase with Incised Lotus Scrolls

Yongle Period (1403–1424)
24.5 cm ︱Ø 4.3 ~ 10.1 cm

The vase has a small mouth and short neck with full and broad shoulders. The round body tapers downwards to the splayed base. The whole vessel is coated in a white glaze, and the incised lotus scrolls can be seen apparently under this bright and translucent white glaze.

The designation of sweet white glaze is classified as one of the exquisite white-glazed porcelain produced at high-temperature in the imperial kilns of the Yongle period (1403–1424), often in the shape of Meiping vase, Yuhuchun vase, pot with double loop handles, bowl and dish. This white glaze is very translucent and lustrous, giving a touch of sweet white sugar, so it has been named “sweet white glaze”.

<p>Blue-and-white Globular Vase with Dragon Among Clouds</p> <p>Yongle Period  (1403–1424)<br /> 43.2 cm ︱Ø 9.4 ~ 16.5 cm</p> <hr /> <p>The vase is potted with the rotund body rising to a short cylindrical neck, with a straight mouth and a splayed base. White glaze is applied inside and outside, and the outer bottom is unglazed. The entire body is decorated in underglaze blue. A band of leaf scroll rounds the rim. The body is painted with a dragon among clouds, with eyes open and tongue out. The flying dragon has a magnificent appearance, soaring among the clouds, facing back. No reign mark.</p> <p>With a simple and solemn style, the vase has a dazzling underglaze blue on a plump and shiny white glaze surface. Moreover, black crystal spots appear at the area of condensed colour. The gaudy blue is particularly eye-catching against the white body displaying a solemn and subtle beauty.</p>

Blue-and-white Globular Vase with Dragon Among Clouds

Yongle Period  (1403–1424)
43.2 cm ︱Ø 9.4 ~ 16.5 cm

The vase is potted with the rotund body rising to a short cylindrical neck, with a straight mouth and a splayed base. White glaze is applied inside and outside, and the outer bottom is unglazed. The entire body is decorated in underglaze blue. A band of leaf scroll rounds the rim. The body is painted with a dragon among clouds, with eyes open and tongue out. The flying dragon has a magnificent appearance, soaring among the clouds, facing back. No reign mark.

With a simple and solemn style, the vase has a dazzling underglaze blue on a plump and shiny white glaze surface. Moreover, black crystal spots appear at the area of condensed colour. The gaudy blue is particularly eye-catching against the white body displaying a solemn and subtle beauty.

<p>Blue-and-white Dish with Mythical Animals Amidst Sea Water</p> <p>Zhengtong to Tianshun Periods (1436–1464)<br /> 3.8 cm ︱Ø 14.9 ~ 8.8 cm</p> <hr /> <p>The dish has a flared rim with rounded sides and a foot ring. The interior and exterior of the vessel are decorated in underglaze blue. The interior bottom is depicted with the walrus amidst waves within double circles. The exterior wall is painted with nine kinds of mythical animals, including “dragon, horse, lion, turtle, elephant, deer, antelope, gastropod shell, and qilin”. The base is in a white glaze with no reign mark.</p> <p>The shape and patterns of this vessel are inherited from the Xuande imperial kiln, but with differences at the rim of the outer mouth decoration, which is in cloud patterns. In 2014, similar vessels were unearthed from the Zhengtong (1436–1449) to Tianshun (1457–1464) period archaeological excavations at the northern foot of Zhushan Mountain in Jingdezhen.</p>

Blue-and-white Dish with Mythical Animals Amidst Sea Water

Zhengtong to Tianshun Periods (1436–1464)
3.8 cm ︱Ø 14.9 ~ 8.8 cm

The dish has a flared rim with rounded sides and a foot ring. The interior and exterior of the vessel are decorated in underglaze blue. The interior bottom is depicted with the walrus amidst waves within double circles. The exterior wall is painted with nine kinds of mythical animals, including “dragon, horse, lion, turtle, elephant, deer, antelope, gastropod shell, and qilin”. The base is in a white glaze with no reign mark.

The shape and patterns of this vessel are inherited from the Xuande imperial kiln, but with differences at the rim of the outer mouth decoration, which is in cloud patterns. In 2014, similar vessels were unearthed from the Zhengtong (1436–1449) to Tianshun (1457–1464) period archaeological excavations at the northern foot of Zhushan Mountain in Jingdezhen.

<p>Doucai Cup with Children at Play Design, Chenghua Period and Mark</p> <p>Chenghua Period (1465–1487)<br /> 4.8 cm ︱Ø 6 ~ 2.7 cm</p> <hr /> <p>Potted of deep “U”-shape with a round mouth and a short straight foot. The base of the cup is inscribed with a six-character reign mark of Chenghua period in underglaze blue regular script in two lines, within double frames. The body is painted with two children flying a kite decorated with doucai enamels.</p> <p>The Children at play is one of the typical patterns of porcelain decoration. It was first seen in the Changsha kiln ceramics of the Tang Dynasty (618–907). In the Song Dynasty (960–1279), many kilns produced porcelain with children at play with a ball, ducks, and deer, but the most favoured pattern was children at play with flowers. Scenes of children at play were even more popular among the porcelain decoration in Ming and Qing Dynasties (1368–1911), with more colourful pictures and figures, as “sixteen sons” and “one-hundred sons” are the most typical ones.</p>

Doucai Cup with Children at Play Design, Chenghua Period and Mark

Chenghua Period (1465–1487)
4.8 cm ︱Ø 6 ~ 2.7 cm

Potted of deep “U”-shape with a round mouth and a short straight foot. The base of the cup is inscribed with a six-character reign mark of Chenghua period in underglaze blue regular script in two lines, within double frames. The body is painted with two children flying a kite decorated with doucai enamels.

The Children at play is one of the typical patterns of porcelain decoration. It was first seen in the Changsha kiln ceramics of the Tang Dynasty (618–907). In the Song Dynasty (960–1279), many kilns produced porcelain with children at play with a ball, ducks, and deer, but the most favoured pattern was children at play with flowers. Scenes of children at play were even more popular among the porcelain decoration in Ming and Qing Dynasties (1368–1911), with more colourful pictures and figures, as “sixteen sons” and “one-hundred sons” are the most typical ones.

<p>Yellow Glazed Vase with Two Animal-head Handles</p> <p>Hongzhi Period (1488–1505)<br /> 31 cm ︱Ø 19 ~ 17.8 cm</p> <hr /> <p>The vase is potted on a splayed foot that rises through a rotund body to a sloped shoulder extending to a short neck and a wide rim. On either side of the shoulders, there are handles in the form of relief-moulded ox heads. White glaze is applied inside and yellow glaze outside. Fine sand bottom. No reign mark.</p> <p>This vase was initially stored in the palace porcelain store (ciku), which was located in the Forbidden City in the past dynasties. The porcelain store was one of the six stores under the Storage Office of the Imperial Household Department (internal affairs). There were also seven yellow glazed and gilt-decorated vases with no reign mark made in Hongzhi period. These ware have a similar shape. The only differences lie in the handles, either ox heads or rings, or even without any.</p>

Yellow Glazed Vase with Two Animal-head Handles

Hongzhi Period (1488–1505)
31 cm ︱Ø 19 ~ 17.8 cm

The vase is potted on a splayed foot that rises through a rotund body to a sloped shoulder extending to a short neck and a wide rim. On either side of the shoulders, there are handles in the form of relief-moulded ox heads. White glaze is applied inside and yellow glaze outside. Fine sand bottom. No reign mark.

This vase was initially stored in the palace porcelain store (ciku), which was located in the Forbidden City in the past dynasties. The porcelain store was one of the six stores under the Storage Office of the Imperial Household Department (internal affairs). There were also seven yellow glazed and gilt-decorated vases with no reign mark made in Hongzhi period. These ware have a similar shape. The only differences lie in the handles, either ox heads or rings, or even without any.

<p>Blue-and-white Candlestick with Arabic Characters, Zhengde Period and Mark</p> <p>Zhengde Period (1506–1521)<br /> 24 cm ︱Ø 6.9 ~ 13.2 cm</p> <hr /> <p>Supported by a stem and flared rim foot, the candlestick consists of a small and shallow upper layer and a large and deep lower layer connected by a high pillar. The body is decorated with lotus scrolls and with the Arabic characters in reserved panels in underglaze blue. The base is inscribed with a six-character reign mark of Zhengde period in blue regular script in two lines, within double circles.</p> <p>This candlestick was one of a pair of candlesticks displayed initially on a narrow desk in the main hall of the Yuqing Palace (Palace for Nurturing Joy) in the Forbidden City, which was built in the eighteenth year of Kangxi period (1679). It was the palace for princes in the Qing Dynasty. Emperors Qianlong and Guangxu once lived in this palace for a long time.</p>

Blue-and-white Candlestick with Arabic Characters, Zhengde Period and Mark

Zhengde Period (1506–1521)
24 cm ︱Ø 6.9 ~ 13.2 cm

Supported by a stem and flared rim foot, the candlestick consists of a small and shallow upper layer and a large and deep lower layer connected by a high pillar. The body is decorated with lotus scrolls and with the Arabic characters in reserved panels in underglaze blue. The base is inscribed with a six-character reign mark of Zhengde period in blue regular script in two lines, within double circles.

This candlestick was one of a pair of candlesticks displayed initially on a narrow desk in the main hall of the Yuqing Palace (Palace for Nurturing Joy) in the Forbidden City, which was built in the eighteenth year of Kangxi period (1679). It was the palace for princes in the Qing Dynasty. Emperors Qianlong and Guangxu once lived in this palace for a long time.

<p>Plain Tricolour Stool Incised with a Pair of Dragons on a Yellow Ground</p> <p>Jiajing Period (1522–1566)</p> <p>34 cm ︱Ø 22 ~ 22.5 cm</p> <hr /> <p>The hollow barrel-shaped stool has a slightly convex top. It is white glazed inside and coated with plain tricolour on the outside. The body is divided into three parts with rows of bosses in high relief. The upper and lower parts are decorated with floral scrolls, while the middle is painted with a dragon swim in a lotus pond. All the patterns are incised first, then some are filled with cobalt blue materials and painted in yellow, green, white, purple and underglaze blue.</p>

Plain Tricolour Stool Incised with a Pair of Dragons on a Yellow Ground

Jiajing Period (1522–1566)

34 cm ︱Ø 22 ~ 22.5 cm

The hollow barrel-shaped stool has a slightly convex top. It is white glazed inside and coated with plain tricolour on the outside. The body is divided into three parts with rows of bosses in high relief. The upper and lower parts are decorated with floral scrolls, while the middle is painted with a dragon swim in a lotus pond. All the patterns are incised first, then some are filled with cobalt blue materials and painted in yellow, green, white, purple and underglaze blue.

<p>Polychrome Garlic-bulb-shaped Vase with Flowers and Birds Design, Wanli Period and Mark</p> <p>Wanli Period (1573–1620)</p> <p>54.5 cm ︱Ø 8.8 ~ 17 cm</p> <hr /> <p>The vase has a pear-shaped body and garlic-bulb-shaped mouth, stands on a circular foot ring, with a straight mouth and a long and slender neck. White glaze is applied inside and outside, leaving the base unglazed. The exterior wall is full of colourful decorations. The rim of the mouth is encircled by a band of square spiral border, while the garlic bulb head is painted with a <em>ruyi</em> cloud pattern, in which it is decorated with <em>lingzhi</em> fungus and floral scrolls. The clouds are linked with ring motifs. Flowers, stones, grasses and insects are painted on the neck. <em>Ruyi</em> cloud pattern rounds the shoulders; the inside and outside of the clouds are alternately adorned with flowers and entwined branches. The entire body is depicted with flowers and birds. This vase has more enriched contents because it has developed on the basis of the “pond-lotus-birds” design, which was very popular on Jingdezhen porcelain during the Yuan and Ming Dynasties (1271–1644). Apart from the main design of the lotus, pond and mandarin ducks, it is adorned with egrets, flying birds and willow trees. Deformed leaf scrolls are painted around the foot. The six-character reign mark of Wanli period is inscribed in blue regular script from right to left horizontally under the rim.</p> <p>With rich decorations and brilliant colours, this garlic-bulb-shaped vase is the typical shape of the Wanli period of the Ming Dynasty.</p>

Polychrome Garlic-bulb-shaped Vase with Flowers and Birds Design, Wanli Period and Mark

Wanli Period (1573–1620)

54.5 cm ︱Ø 8.8 ~ 17 cm

The vase has a pear-shaped body and garlic-bulb-shaped mouth, stands on a circular foot ring, with a straight mouth and a long and slender neck. White glaze is applied inside and outside, leaving the base unglazed. The exterior wall is full of colourful decorations. The rim of the mouth is encircled by a band of square spiral border, while the garlic bulb head is painted with a ruyi cloud pattern, in which it is decorated with lingzhi fungus and floral scrolls. The clouds are linked with ring motifs. Flowers, stones, grasses and insects are painted on the neck. Ruyi cloud pattern rounds the shoulders; the inside and outside of the clouds are alternately adorned with flowers and entwined branches. The entire body is depicted with flowers and birds. This vase has more enriched contents because it has developed on the basis of the “pond-lotus-birds” design, which was very popular on Jingdezhen porcelain during the Yuan and Ming Dynasties (1271–1644). Apart from the main design of the lotus, pond and mandarin ducks, it is adorned with egrets, flying birds and willow trees. Deformed leaf scrolls are painted around the foot. The six-character reign mark of Wanli period is inscribed in blue regular script from right to left horizontally under the rim.

With rich decorations and brilliant colours, this garlic-bulb-shaped vase is the typical shape of the Wanli period of the Ming Dynasty.

<p>Blue-and-white Flask with Two Looped Handles and Floral Sprays Design</p> <p>Yongle Period (1403–1424)</p> <p>45 cm ︱Ø 6.3 ~ 27.2 cm</p>

Blue-and-white Flask with Two Looped Handles and Floral Sprays Design

Yongle Period (1403–1424)

45 cm ︱Ø 6.3 ~ 27.2 cm

<p>Blue-and-white Globular Vase with White Dragon Amidst Sea Water</p> <p>Yongle Period (1403–1424)<br /> 42.7 cm ︱Ø 9.5 ~ 16.3 cm</p>

Blue-and-white Globular Vase with White Dragon Amidst Sea Water

Yongle Period (1403–1424)
42.7 cm ︱Ø 9.5 ~ 16.3 cm

<p>Blue-and-white Flower Watering Pot with Floral Scrolls, Xuande Period and Mark</p> <p>Xuande Period (1426–1435)<br /> 13.1 cm ︱Ø 7.5 ~ 4.5 cm</p>

Blue-and-white Flower Watering Pot with Floral Scrolls, Xuande Period and Mark

Xuande Period (1426–1435)
13.1 cm ︱Ø 7.5 ~ 4.5 cm

<p>Dark Blue Glazed Dish, Xuande Period and Mark</p> <p>Xuande Period (1426–1435)<br /> 4.3 cm ︱Ø 20.4 ~ 13.4 cm</p>

Dark Blue Glazed Dish, Xuande Period and Mark

Xuande Period (1426–1435)
4.3 cm ︱Ø 20.4 ~ 13.4 cm

<p>Blue-and-white Chuji Zun Vase with Dragon Among Clouds</p> <p>Zhengtong to Tianshun <br /> Periods (1436–1464)<br /> 21.2 cm ︱Ø 14.8 ~ 10.5 cm</p>

Blue-and-white Chuji Zun Vase with Dragon Among Clouds

Zhengtong to Tianshun 
Periods (1436–1464)
21.2 cm ︱Ø 14.8 ~ 10.5 cm

<p>Doucai Cup with Design of Grape Sprays, Chenghua Period and Mark</p> <p>Chenghua Period (1465–1487)<br /> 4.8 cm ︱Ø 5.5 ~ 2.4 cm</p>

Doucai Cup with Design of Grape Sprays, Chenghua Period and Mark

Chenghua Period (1465–1487)
4.8 cm ︱Ø 5.5 ~ 2.4 cm

<p>Bowl with Incised Green Glazed Dragons Amidst Sea Water and Clouds on a White Ground, Hongzhi Period and Mark</p> <p>Hongzhi Period (1488–1505)<br /> 7.2 cm ︱Ø 16.3 ~ 6.6 cm</p>

Bowl with Incised Green Glazed Dragons Amidst Sea Water and Clouds on a White Ground, Hongzhi Period and Mark

Hongzhi Period (1488–1505)
7.2 cm ︱Ø 16.3 ~ 6.6 cm

<p>White-glaze-inside Vase with Incised Green Glazed Dragon Among Clouds on a Yellow Ground, Zhengde Period and Mark</p> <p>Zhengde Period (1506–1521)<br /> 11.2 cm ︱Ø 14.6 ~ 8.4 cm</p>

White-glaze-inside Vase with Incised Green Glazed Dragon Among Clouds on a Yellow Ground, Zhengde Period and Mark

Zhengde Period (1506–1521)
11.2 cm ︱Ø 14.6 ~ 8.4 cm

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MAM 4/F

Opening Date：
2021/12/10 17:15
Duration：
2021/12/11 - 2022/03/06
Available Dates for visit for Guided Tour for Public：
2021-12-11 – 2022-03-06 (Sat, Sun & Public Holiday 15:00-16:00; 16:15-17:15 4th floor Cantonese)
Available Dates for Visit for Guided Tour for Groups：
2021-12-14 – 2022-03-06

Audio Guide Tour Audio Guide Tour：
About the exhibition
Underglazed Red Yuhuchun Vase with Pine, Bamboo and Plum Design
Blue-and-white “Press-hand” Cup with Lotus Scrolls, Yongle Period and Mark
Bright Red Glazed Dish
Vaso Meiping Vidrado a Branco Doce com Desenho de Lótus Inciso
Blue-and-white Globular Vase with Dragon Among Clouds
Blue-and-white Dish with Mythical Animals Amidst Sea Water
Doucai Cup with Children at Play Design, Chenghua Period and Mark
Yellow Glazed Vase with Two Animal-head Handles
Blue-and-white Candlestick with Arabic Characters, Zhengde Period and Mark
Plain Tricolour Stool Incised with a Pair of Dragons on a Yellow Ground
Polychrome Garlic-bulb-shaped Vase with Flowers and Birds Design, Wanli Period and Mark