A RARE BLUE AND WHITE 'MASTER OF THE ROCKS' JARShunzhi/early Kangxi Of elegant baluster form, painted around the exterior with a continuous scene of craggy mountains in pencilled line around a lake with fisherman on a sampan, pavilions with scholars dotted throughout, all amidst various trees, the sky with V-shaped flocks of geese, all beneath a border of pine trees on the shoulder, the neck with a border of lotus. 27.8cm (11in) high. 清順治至康熙早期 青花山水紋罐 Provenance: Professor Desmond R. Laurence (1922-2019) S. Marchant & Son, London, 17 October 2003 Marchant, London, 6 December 2010 Published, Illustrated and Exhibited: Marchant, Selected Chinese Porcelain from the Collection of Professor D.R. Laurence , London, 2010, pp.20-21, no.12 來源：Desmond R. Laurence 教授 (1922-2019) 倫敦古董商 S. Marchant & Son，2003年10月17日 倫敦古董商 Marchant，2010年12月6日 展覽及錄著：《Selected Chinese Porcelain from the Collection of Professor D.R. Laurence》，倫敦，2010年，頁20-21，編號12 The present jar is decorated with a landscape in the so-called 'Master of the Rocks' style. This style, which seems to have developed towards the mid-17th century in the final years of the Ming dynasty, continued to be popular in the early years of the Kangxi reign, with a very few examples being made as late as the turn of the century. The 'Master of the Rocks' style was by no means limited to the brush of a single artist, and appears in a number of versions on porcelains from about 1640 to 1700. It was used on porcelains decorated in underglaze cobalt blue and also those decorated in underglaze blue and copper red. There are even very rare examples where the style has beenbined with famille verte enamels. The style itself is characterised by the use of 'hemp-fibre' strokes to produce rocky landscapes full of movement and drama, oftenbined with the use of fluid dots to depict scrub and foliage. This development in porcelain painting reflected elements seen in the landscape painting of certain artists working on silk and paper. The use of 'hemp-fibre' brush strokes can be seen in the work of the famous late Ming dynasty literatus Dong Qichang (1555-1636), for example in his hanging scroll 'Autumn Landscape' in the Nü Wa Chai Collection illustrated by J.Cahill, Chinese Painting , Lausanne, n.d., p.150. The dramatic, almost writhing, rock forms as well as the 'hemp-fibre' brush strokes can also be seen in paintings such as 'Returning Home from Gathering Fungus' painted in 1628 by Wang Jianzhang (fl.1628-1644), illustrated by S.Little, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives , New York, 1995, p.36, fig.2. The influence of such paintings on the porcelain decorators at Jingdezhen was not necessarily direct. This style of painting was not only well-regarded, it also lent itself to translation into woodblock printing, and it is quite possible that it was through this medium that aspects of style, such as 'hemp-fibre' stro