A 17th-century (1620–1640) Portuguese faience shallow plate,featuring a broad, raised lip and resting on a low, set-back footrim. It is enamelled in a translucent white tin glaze and decoratedin cobalt blue.At the centre stands a passant lion (striding with the rightforepaw raised and the others resting on the ground), lampassé (withits tongue protruding) and regardant (turning its head backwards).It moves towards a small footbridge, surrounded by phytomorphicelements, among which daisies and paired peaches stand out.The lip is divided into reserves, decorated alternately withartemisia leaves entwined with cords—the so-called aranhões1—andchrysanthemum branches.2 These are separated by small columns ofsuspended interlacing motifs centred by seals. On the reverse, sevencartouches with stylised flowers are divided by vertical strokes.The decorative programme follows the typical model ofKraak porcelain produced mainly during the reign of the WanliEmperor (1563–1620). In the 17th century, Chinese porcelain constitutedthe most significant influence on Portuguese faience, givingrise to one of the earliest European manifestations of Chinoiserieand to the designation ‘Lisbon Porcelain’.From a stylistic point of view, this period is distinguishedby the assimilation of Oriental models, visible both in the ornamentationof the lip and in the plates’ central medallion, frequentlyfilled with bucolic landscapes animated by animal figures, amongstwhich the lion appears.These figures rarely correspond to the real animal. In porcelain,they often appear in the form of Foo Dogs, inspired by themythical lions of Eastern tradition, frequently depicted playing with a brocade ball—symbols of protection that ward off evil spiritsand evoke joy. Associated with Buddhism, they are emblems ofcourage, strength and wisdom, and regarded as sacred guardiansof the Dharma. However, Portuguese potters did not faithfullyreproduce Chinese models, choosing instead to create their owninterpretations. These frequently appear on pieces bearing noblecoats of arms, as such wares were primarily intended for eliteconsumption.The lion thus acquires a markedly heraldic character, generallyinspired by the rampant position,3 demonstrating the closerelationship between faience and heraldic tradition.In 17th-century Portuguese faience, this animal frequentlyfeatures within heraldic shields, often linked to the Silva family, orappears as an independent motif, as in the present plate, where itsrepresentation is closer to heraldic tradition,4 than to naturalisticobservation.The lion reveals recurring characteristics, namely the openmouth with projecting tongue, flattened nose and robust neck.The turned head, facing opposite to the direction of movement,may symbolise vigilance, caution or defiance. The paws follow thetypical configuration of the rampant lion of the Silvas, althoughoriented towards the ground.During this period (1620–1640), pieces of this typologyhave been identified in both national and foreign archaeologicalcontexts,5 associated with the wealthier social strata. Known examplesoriginate mainly from palaces, convents and monasteries.
Teresa Peralta