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@thomasumjohnson I’m wrong about pieces made for Japanese export wouldn’t have marks - a great many do.
The Japanese pieces seem to have this turquoise colour, and the last one looks almost amari. Here's the dragon with no claws, it's apparently transforming from a carp to dragon and has wings
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I have very little to add to Tim's @greeno107, Mark's @imperialfinegems, Vic @shine and others comments/posts ...Â
Some general information:-Â
The three clawed winged dragon motif was first see on early Ming Yongle/Xuande Imperial wares, but this dragon, known as kui (or xiangcao 'sweet grass') is derived from the 'makara', a mythical river creature from India which has strong Buddhist connections. It was an extremely rare motif and only examples painted in blue and white are known from these periods ...
In the mid 15th century, the private kilns adapted/change this motif. Known examples include on dishes, bowls and guans, although differences in painting style can be seen between Zhengtong, which closely follow the Xuande style and Tianshun period examples, which are the precursor to the Chenghua style ...
The first enamelled examples of this motif are from the late Chenghua period, and were produced in the 'douai palate. Authentic examples all have a 'tian' (heaven) character mark to the base. The Bonhams Yongzheng example cited is a copy of this type, although the cover is a later replacement. Such Yongzheng copies either have a Yongzheng six-character or 'tian' base mark ...
You are quite right, three and four clawed winged dragons, mostly painted in blue and white and usually seen on meipings, dishes and bowls was a very popular motif during the Jiajing and Wanli periods, especially in the private kilns. The bases of these pieces can have the six character mark of the period, they can have apocryphal marks, usually Xuande or Chenghua, or be unmarked ...
As mentioned, look closely at the central dragon on your bowl. Note the positioning/posture of the legs or the drawing of the claws, the rendering is rather stiff/placed compared with either the Gugong and Hong Kong examples cited ...
It may well be a Japanese copy, as mentioned by Tim, Mark and Vic, but I have no knowledge of such pieces but, IMO, certainly not Wanli period ...
StuartÂ
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@ming1449 thanks Stuart, you really are a wealth of knowledge. It's very interesting to know about the different types of dragon and I'm sure we all appreciate you research on the subject. It's very hard to find anything online about them.
@ming1449 thanks again Stuart. Just to make sure I understand you correctly, the dragon motif on my bowl is based on the same motif used in the Yongzheng bowl cited (pictured below) which is a Chinese interpretation of a Buddhist kui dragon. I notice they both have 2 legs, 3 claws and wings. .
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Attached images/descriptions provided a visual reference for the evaluation of this motif;Â
1/2; Large guan, attributed to the Yongle period …Â
3/4; Stem bowl, Xuande mark/period …
5/6; Jar/cover, Chenghua period, ‘tian’ base mark …
This ‘kui’ dragon type, with two front legs and long, foliated tail is very rarely seen on Imperial wares after Chenghua period. It was extremely popular in the private kilns from the mid 15th/early 16th century, but was mostly discarded after Zhengde …
It was replaced, on both Imperial on private kiln wares by the motif seen in the last three images. This was type was extensive used, especially during the Jiajing and Wanli periods. This dragon has no front legs but two rear ones, and examples with 3/4 and five clawed are known …
StuartÂ
Hi -Â
Firstly apologies, the images on my last post seem to have attached themselves slightly in the wrong order!!🙄…
No, the dragon on your bowl is based upon the mid/late 16th century type seen on the two dishes on my last post. The design on the Yongzheng jar is based upon known Chenghua examples, themselves a continuation of the early Yongle/Xuande type …Â
StuartÂ
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