The present vase is notable for its lustrous and rich 'tea dust' glaze, representing the technical perfection achieved by the potters working in the imperial kilns in Jingdezhen at the time. This type of glaze, which was exclusively for imperial consumption, was successfully achieved under the supervision of the great Tang Ying (1682-1756), Superintendent of the Imperial kilns during the Yongzheng (r. 1723-1735) and Qianlong (r. 1736-1795) reigns. The flecked olive-green tone was created in the course of high-temperature firing, during which the yellow crystals in the glaze precipitated to contrast against the dark green ground, consequently producing the tea-dust effect.
A pair of closely related vases preserved in the Seikado Bunko Museum, Tokyo, was included in the Museum's exhibition, Seikado zo Shincho toji. Keitokuchin kanyo no bi [Qing porcelain collected in the Seikado. Beauty of the Jingdezhen imperial kilns], Tokyo, 2006, cat. no. 109; one from the Meiyintang Collection, is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 936; and another, but with a pale rim, from the Victoria and Albert Museum, London, is published in Rose Kerr, Chinese Ceramics. Porcelain of the Qing Dynasty 1644-1911, London, 1986, pl. 25. Further Qianlong marked tea-dust glazed vases of this type include one recently sold in our Hong Kong rooms, 3rd October 2017, lot 3665; another in these rooms, 13th September 2017, lot 24; and a third sold at Christie's New York, 17th March 2017, lot 1245. Compare also one from the T.Y. Chao Collection, sold in our Hong Kong rooms, 19th May 1987, lot 294, and again at Christie's New York, 20th March 1997, lot 128.