A FINE AND LARGE BLUE AND WHITE MING STYLE VASE, 'HU' SEALMARK AND PERIOD OF QIANLONG

the high rounded shoulders set with two archaistic taotie masks supporting mock ring handles interrupting a wide band of scrolling lotus, the large blooms borne in an alternating double register with the upper row each supporting one of the bajixiang, all between a border of blue ground lappets above  a wave border on the flared foot and a band of stylised leaf motifs on the shoulder, the wide waisted  neck with a further lotus scroll below a wave border at the flared rim, with contrived 'heaping and piling'effect



 

Generally good condition but has a 5 cm diameter three point glaze star crack to the centre of the interior. There are also several glaze star cracks and one longer glaze line to the interior shoulder. There is some small black pitting to the entire interior surface of the rim and neck, with a few larger 1mm diameter iron spots. There is also numerous small circular glaze bumps to one side of the interior of the neck and a 3mm by 3mm glaze flake above this, just bellow the rim. There is also a 3cm long glaze crack above the petal band at the lower section of the exterior and some minor surface scratching to areas on the side of the vase. There is a 3.5cm bruised area to the edge of the interior of one side of the footrim that is stained and has a semicircular light firing crack with two smaller branches.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This vase represents one of the finest porcelain designs that is clearly influenced by earlier Ming ceramic patterns but is adapted to suit contemporary Qianlong period taste. The vase is impressive for its very large size, meticulously detailed painting and very fine potting. The decoration is also notable for its brilliantly vivid blue glaze, a reflection of the very high level of technical achievement by the potters working in the Imperial kilns at Jingdezhen under the guidance of China's most famous Superintendent Tang Ying. The Qianlong emperor is known to have commissioned artists producing wares for the court to make pieces that were challenging and impressive. He often placed more emphasis on showier aspects of production and on the virtuosity of craftsmanship. Under his tutelage the refinement of the material and craftsmanship allowed potters to become ambitious in their repertoire. The making of such large vessels, together with the painting of the complex design of stylized lotus scroll combined with the bajixiang (Eight Buddhist Emblems) symbol provided a challenge allowing artists to be ambitious in their repertoire.

This hu required considerable expertise from the potter who borrowed extensively from archaic styles and forms while creating a piece that was innovative and contemporary. Reference to archaic bronze hu would have been also appreciated by the emperor who was a great connoisseur and a keen collector of archaic pieces. The emperor was also an ardent follower of Tibetan Buddhism and religious reference, such as the symbols of the Eight Buddhist Emblems, the Wheel of Law, the Conch, the Standard of Victory, the Parasol, the Lotus, the Vase, the Twin fish and the Endless Knot, would have been among his favourite motifs. 

A similar vase is illustrated in Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong Kong, 1987, pl. 58, where the design is described by Julian Thompson as the culmination of the long progression of transformation of the early fifteenth century style, with all the bands of decoration being adapted from 15^th century designs except the quatrefoils on the shoulder. Another vase of this form and pattern, believed to have come from the Royal Collections at Windsor Castle and to have been presented by Queen Mary to Sir Ralph Harwood, K.C.B., K.C.V.O. at one time Financial Secretary to King George V and Controller of the Royal Household, was sold in these rooms, 7^th June 1994, lot 358. A third comparable example was included in the Min Chiu Society exhibition Anthology of Chinese Art, Hong Kong, 1985, cat.no. 185, from the collection of Mr. Fan Chai.

Vases of this form can also be found decorated with a different design pattern and of much smaller size (height 25 cm). See a Qianlong vase of this hu form, the body painted with a band of lotus blooms on scrolling leafy stems above a composite flower scroll band and a larger band of rolling crested waves, in the National Palace Museum, Taipei, illustrated in Porcelain of the National Palace Museum: Blue and hite Ware of the Ch'ing Dynasty, Hong Kong, 1968, pl. 2; and another sold in our Hong Kong rooms, 30^th October 2002, lot 282.

Vases of this hu form remained popular and continued being made throughout the Qing period; see a Daoguang version included in Geng Baochang, Ming Qing ciqi jianding, Hong Kong, 1993, pl. 510.