A BLUE AND WHITE DOCUMENTARY 'ONE HUNDRED ANTIQUES' LANTERN JAR Cyclically dated to the Gengchen year corresponding to 1640, and of the period Deftly potted of ovoid shape rising from a short straight foot to a slightly inward-tapering neck, painted around the exterior with various scholarly objects including an open scroll with a mountain landscape beside a rock on a stand, with various vases and vessels containing plantain and peonies, interspersed with V-tick grass, calligraphic inscription gengchen chun ri xie ('sketched in the Spring of the Gengchen year'). 16.5cm (6 1/2in) high. Footnotes: Please note this Lot is to be sold at No Reserve. 本拍品不設底價 庚辰年（1640年） 青花博古圖燈籠瓶 款識：庚辰春日寫 Provenance: Christie's London, 5 February 1979, lot 52 Eileen Lesouef, Paris Ben Janssens Oriental Art, London R & G McPherson Antiques, London (label) Published, Illustrated and Exhibited: C.Sheaf and R.Kilburn, The Hatcher Porcelain Cargoes: The Complete Record, London, 1988, pl.59. Ben Janssens Oriental Art, Seventeenth Century Chinese Blue and White Porcelain from the Private Collection of Eileen Lesouef, London, 1999, no.21 (exhibited) The Oriental Ceramic Society, China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.225, no.134. 來源：倫敦佳士得，1979年2月5日，拍品編號52 Eileen Lesouef，巴黎 倫敦古董商Ben Janssens Oriental Art 倫敦古董商R & G McPherson Antique（標簽） 展覽著錄： C.Sheaf and R.Kilburn，《The Hatcher Porcelain Cargoes: The Complete Record》，倫敦，1988年，圖版59 Ben Janssens Oriental Art，《Seventeenth Century Chinese Blue and White Porcelain from the Private Collection of Eileen Lesouef》，倫敦，1999年，編號21（展覽） 東方陶瓷學會，《龍隱：東方陶瓷學會會員稀珍藏品展》，倫敦，2016年，第225頁，編號134 The motif of archaic vessels, bronzes and scholarly accoutrements arranged with scrolls, books and paintings became especially popular in the late Ming and early Qing dynasties. Such imagery evoked the cultivated world of the literatus and functioned as a visual shorthand for scholarly attainment, connoisseurship and moral refinement, aligning the owner with the ideals of wen (文) culture. The inclusion of a painting depicted within the composition itself, a 'painting within a painting', introduces a note of playful self-awareness, a visual conceit much enjoyed by the literati, who delighted in layered references and intellectual wit. The flowers further enrich the symbolic programme: peonies, traditionally associated with wealth and prosperity, signal worldly success and status, while the banana plant in the jardinière carries Buddhist overtones, its unfurling leaves alluding to the illusory and ontologically unstable nature of the phenomenal world, emerging from apparent nothingness. Compare with a similar blue and white jar and cover, Chongzhen, illustrated in Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections, Shanghai, 2005, pp.90-91, no.13. A blue and white vase dated to the same year is illustrated in Ibid., no.25. For further information on this lot please visit Bonhams.com For further information about this lot please visit the lot listing