The blue and white pen box refers in its rectangular-oval shape and its dense decoration to inlaid brass boxes from the Middle East. It is known that especially the Yongle Emperor was a vivid collector of these pen boxes in Islamic style (cf. Exhib.cat., Ming: 50 years that changed China, British Museum, London 2014, p. 95). From the Ming dynasty onwards vessel shapes, alien to Chinese tradition such as pen boxes, were created to meet demand likewise from the inland market and from overseas. The inside of the cover is delicately painted with the ‘Three Friends of Winter’ motif. Compare the present box with a very similar one from the Percival David Collection in the British Museum (inv. no. PDF A.629). Especially the painting of the ‘Three Friends of Winter’ on the inside of the lid is closely related to the present box. The depiction of Bamboo, Pine and and Prunus as three single intertwined branches can also be found on other blue and white porcelains from the early 15th century. See e.g. a small dish with similar painting of the ‘Three Friends’ from the collection of the Ardebil Shrine, Iran. Cf. Pope, Chinese Porcelains from the Ardebil Shrine, Washington 1956, plate 40, no. 29.35.

Under the patronage of the Yongle Emperor several trade and exploration missions were conducted at the beginning of the 15th century. These missions stimulated the demand for high quality Chinese porcelains abroad and new forms were introduced to the porcelain production in Jingdezheng. An indication for this intercultural exchange between China and the Islamic world is the punctuated mark in Arabian script on the side of the body. The mark is composed of small drilled holes applied directly to the surface of the glaze. It can be read as ‘Qarachaghay’. Qarachaghay was a late 16th/early 17th century Persian statesman serving under Shah Abbas I. There are 94 porcelains in the collection of the Ardabil Shrine bearing the mark of ‘Qarachaghay’. Pope argues that these marked pieces have been a pious donation to the royal collection of Shah Abbas I. Cf. Pope 1956, pp. 51-58, pl. 6.

Pen boxes, such as the one offered, revive the shape of brass boxes which became later popular in Egypt and Syria. Calligrapher's tools were regarded as works of art in their own right, appropriate for the aesthetic value of the writing for which they were employed. So boxes were made of valuable materials and decorated in precious elements such as gemstones. Cf. boxes in the British Museum (accession no.1983.7), David J. Roxburgh, Turks. A Journey of A Thousand Years, 600-1600, exhibition catalogue, London 2005, no.343, pp.358 and 463. A golden decorated box from the 15th century can be found in Esin Atil, The Age of Sultan Süleyman the Magnificent, exhibition catalogue, Washington 1987, no.68, p135. A similar porcelain box with tendrils can be found in the David Collection in Denmark (accession no. 7/1991, cf. Kjeld von Folsach, Art from the World of Islam in the David Collection, Copenhagen 2001, no. 241, pp. 125 and 179.) as well as in the Islamic Arts Museum Malaysia.

Literature:
Cf. Exhib.cat., Ming: 50 years that changed China, British Museum, London 2014, p. 95.
Cf. Pope, Chinese Porcelains from the Ardebil Shrine, Washington 1956, pp. 51-58, pl. 6, 40.

Condition:
The pen box is in good condition with usual signs of wear consistent with age. Small manufacturing flaws and chips on the edges, especially on the base. Ibidem with restorations. The dimensions are 9.5 in height and 29 cm in length.

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