A LARGE CLOISONNE 'ONE HUNDRED DEER' VASE QING DYNASTY, QIANLONG PERIOD

the body of pear shape supported on a short spreading foot, decorated around the exterior with brightly enamelled deer in a rocky landscap below cranes in flight among clouds, all between ruyi and lotus-lappet bands, applied at the shoulder with a pair of gilt-bronze archaistic dragon handles

The vase is in good overall condition with the exception of some small areas of loss (max 2cm x 2cm) to the enamels, predominantly on the lower section of the body around the wave band.
"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."

Cloisonne vases of this well known 'Hundred Deer' design are rare, although a closely related piece was sold in these rooms, 16th November 1976, lot 52. Compare another pair of vases of the same form and design also sold in these rooms, 4th June 1984, lot 466.

This vase in its shape and highly complex and exquisitely composed design compares closely with the famille rose porcelain 'Hundred Deer' vases that can be found in many major museums and private collections: see examples from the Qing Court collection and still in Beijing illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85; a pair and a single vase in the Shanghai Museum, included in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67, and in Chugoku toji zenshu, vol. 21, Kyoto, 1981, pl. 103; and one from the Grandidier collection in the Musee Guimet, Paris, included in The World's Great Collections. Oriental Ceramics, vol. 7, Tokyo, 1981, pl. 190.

The deer symbolizes immortality and is the companion of Shoulao, the God of Longevity. It also represents filial piety which comes from the folk tale of Zhou Yanzi. This is a story of a young boy who tries to get milk from a deer to cure his ailing father. To achieve his goal he wears deer skin and joins a deer herd to gather milk. The word 'deer' in Chinese is lu which is the homophone for the word 'official salary' (lu). Hence, the deer also represents wealth and is associated with official and scholarly success. The idea conveyed in the 'Hundred Deer' design is a wish for great wealth and success.