A blue and white tripod censer "Lotuses and peonies", Yuan Dynasty (1271-1368)

An elegant three-legged censer with fine blue-and-white decorations, characteristic of Jingdezhen kilns of the Yuan dynasty (1271-68).

Intricately and elaborately designed, this example consists of a thin edge folded outwards, which sits on a wide cylindrical mouth. This is followed by a narrow neck that is joined to the mouth by an inverted cone-shaped structure. The two parts are connected by two openwork handles in the centre, one on each side in the shape of an 'L', which starts from the neck with a sinuous, ascending curve and end in a rectangular shape that is slightly open towards the outside. Below the handles are two fine, curled scrolls that are not only decorative, but also strategically reinforce the structure of the two handles. The body, pronounced and globular, shows the craftsman's mastery and rests on three points of support or moulded feet, giving dynamism to the piece.

On a thick, glossy white glaze background, which slides slightly inwards to reveal the natural ceramic, there is a network of decorations delicately made by superimposing layers of cobalt-blue pigment. This pigment, which originated in West Asia, was known for its high quality and durability; when used, depending on the concentration, it left various shades of blue after firing, ranging from light blue-grey to deep blue-almost black.

The piece combines simple and ostentatious decorations depending on the area where it is placed, these are delimited by the characteristic double blue lines. In descending order, both handles are decorated with fine blue lines that run along the contour and inside the structure, their irregular outline denoting the craftsman's handiwork.

The mouth of the neck is decorated with an elaborate pattern of fine interwoven scrolls that are connected to each other. The neck is richly decorated with long, winding branches from which sprout small leaves and buds yet to bloom; four beautiful peonies, executed in meticulous detail, stand out in the composition and are arranged above the four large lotuses that adorn the belly of the censer.

Similar to the neck, the bulging belly is decorated with large curved branches ending in delicate scrolling leaves, lotus buds and four large lotuses in bloom depicted from different perspectives. These floral patterns masterfully depict the various stages of flowering of peonies and lotuses, further enhancing the symbolism of both. In Chinese culture, the lotus symbolize purity of heart and mind, as well as long life, among others. The peony represents fortune and prosperity.

In contraposition, the lower belly of the censer is simply decorated, with four round arches made with the characteristic double blue line framing a fine composition of twisted branches decorated with fine, small leaves; at the base, the absence of glaze reveals clay stained with an ochre hue due to the passage of time.

To complete the composition, the three legs that support the body of the censer depict mythological beasts, resembling a tiger, with piercing open eyes, fine fur and sharp claws.

Censers were traditionally used throughout the Yuan dynasty by the upper echelons, consisting of royalty, nobles, and even high-ranking officials, usually for ritual and ceremonial purposes. 

Height: 24 cm; Largest width: 21.6 cm

Provenance:

- Important private collection Karabeyoğlu family for generations. Currently owned by Dr Meltem Karabeyoğlu.

Born in Turkey and educated in the UK and Iraq, where she received her PhD from the University of Baghdad. In the 1990s he managed numerous German companies specializing in metallurgy and shipbuilding in various Iraqi regions until 1997 when he became chairman of Karabeyoğlu Enterprises, an oil and mining conglomerate that was also involved in UN-sponsored agricultural irrigation projects and arms production for national defence. Dr. Meltem Karabeyoğlu, is also noted for her work as a philanthropist, patron of international art and history exhibitions and for her impressive collection of antique works and Asian ceramics dating to the family's heyday during the Ottoman Empire.

 - Catalogue note:

Attached thermoluminescence test from the CIRAM laboratory. The results obtained indicate that the object was made between the 13th and 14th centuries. The results are consistent with the presumed period of this piece.

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