72.
JAR
WHITE PORCELAIN DECORATED IN UNDERGLAZE BLUE
JINGDEZHEN KILNS, JIANGXI PROVINCE
MING DYNASTY (1368–1644), CA. 1610–1630
HEIGHT 12.5 CM; RIM DIAMETER 5.6 CM;
FOOT DIAMETER 5.8 CM
INV. NO. 179
Irregular octagonal jar with square body and
chamfered corners, and very short neck,
standing on a tall, widely everted, hollow
foot, below a thick ring. Moulded and
modelled from fine, partly translucent white
porcelain, with slightly bluish glaze, except
for the foot ring.
Decorated in underglaze blue. On the
corners four cherub heads with curly hair,
applied in relief, the eyes, mouth and wings
painted blue, above vine leaves and bunches
of grape hanging below, alternate with four
representations of The Passion of Christ,
specifically known as the ‘Instruments of
the Passion’: the first depicting the Latin
cross with inscription but without the
traditional letters INRI (
Iesus Nazarenus Rex
Iudeorum
), the bowl and ewer associated
with Pontius Pilate, the cockerel that thrice
announced Peter’s denial, perched on the
cross, the cane holding the sponge soaked
in vinegar used to quench Christ’s thirst,
the spear that pierced His side, and the
ladder used for the Deposition; the second,
a Corinthian column with traces of rope, a
crossed broom and scourge, symbols of the
Flagellation, and a hammer, nails and
pincer, the first two being symbols of the
Crucifixion, the latter of Christ’s Descent
from the cross; the third depicting the
sword used to cut off Malchus’ ear, the
cockerel, the crown of thorns and an ear
of wheat, a Eucharistic symbol; and the
fourth depicting the three dice and the
tunic for which the soldiers cast lots.
Below the main body a border of lotus
petal panels; on the shoulder four flower
sprays. The foot is filled with lotus scrolls
reserved in white on a blue ground,
and the thick ring has four single
flowerheads. On the neck vestiges of a
floral meander.
The presence of the Instruments of the
Passion, which acquired prominence
after the thirteenth century and were
consolidated in the fifteenth century, are
associated with a heraldic symbolism whose
images are similar to the actual depiction
of the Crucifixion. Often used on shields as
if they were heraldic elements, these motifs
quickly attained that status, appearing next
to angels that present them, just like
supporters. Although they are not placed
inside the shields, or presented to the
184 .
PORCELAIN OF THE YUAN (1279–1368) AND MING (1368–1644) DYNASTIES