A 'Famille-Rose' 'Dragon and Phoenix' Vase and Cover Jiaqing Seal Mark and Period

the ovoid body rising from a short foot to a straight neck, brightly painted with a dragon and phoenix amidst blossoming peonies borne on meandering leafy scrolls, framed by pendent ruyi heads above and a lappet band below, the foot with a keyfret band and the neck with stiff leaves, the domed cover similarly decorated, inscribed to the base with a six-character Jiaqing seal mark

Sotheby's New York, 20th February 1975, lot 289.
Sotheby's Hong Kong, 13th November 1990, lot 308.

There is a 5cm hairline crack running from the rim to the highest point of the mane of the dragon. There is a C-shaped firing crack running through the footrim and a small (1.5mm by 1.5mm) glaze crawl to the base. There is some rubbing to the gilding at the rim and minor rubbing to the gilding to the interior rim of the cover.
"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."

The present jar and cover is especially fine for its painted decoration of a single large five-clawed scaly dragon in iron-red enamel, depicted in an especially lively and robust manner, that is in sharp contrast with the pink-bodied phoenix drawn with soft brushstrokes to highlight the bird’s feminine quality. The overall composition is characteristic of the early Jiaqing period, when designs were often set amid meandering peony and hibiscus on a white body that served as the painter’s ‘canvas’, and when the influence of Qianlong period painting style remained strong and evident. For example, see a large Qianlong mark and period famille-rose vase painted with bright enamels and iron-red with landscape panels on a ground of floral design, sold in our Hong Kong rooms, 22^nd May 1984, lot 142, and again, 13^th November 1990, lot 310; and another Qianlong vase, the body covered with floral decoration, included in the exhibition Ethereal Elegance, Art Museum, Institute of Chinese Studies, The Chinese University of Hong Kong, Hong Kong, 2007, cat. no. 126, together with a Qianlong wall vase, also painted in a related fashion with flower scrolls and upright petals around the base, cat. no. 130.

The ‘dragon and phoenix’ motif is full of auspicious connotation, and vessels decorated with two of the most important mythical animals in Chinese tradition are typically made as wedding gifts. The dragon is the symbol of the emperor and represents fertility, while the phoenix embodies the warmth of the sun and helps produce male offsping. The dragon, together with the phoenix which is also the leader of all winged creatures, symbolises the emperor and the empress, as well as representing marital bliss. When the two animals face each other, as seen on this jar when turned, they convey the message of a happy reunion and good omen.

A related jar and cover, but with a slightly varying ruyi band at the shoulder beneath a flower scroll neck and a stylised lappet band at the foot, was sold at Christie’s New York, 15^th September 2009, lot 462. Compare also a jar lacking its cover, painted with a similar design overall above a lappet band, sold at Christie’s London, 5^th June 1995, lot 170.