AN EXCEPTIONAL AND VERY RARE YELLOW JADE DOUBLE CARP VASE MARK AND PERIOD OF QIANLONG

THIS IS A PREMIUM LOT. CLIENTS WHO WISH TO BID ON PREMIUM LOTS ARE REQUESTED TO COMPLETE THE PREMIUM LOT PRE-REGISTRATION 3 WORKING DAYS PRIOR TO THE SALE.



superbly carved in the form of two carp leaping from jagged rockwork and turbulent waves in pursuit of a 'flaming pearl', the beasts attached to one side and their gaping mouths forming the rim of the vase, the fins and scales finely detailed, with two bats in mid-flight and a qilong clambering up the larger carp, its muscular body and outstretched limbs finely defined, the stone of a translucent even yellowish-green colour of unctuous glossy texture with the rocks and qilong cleverly carved from the russet inclusions   

Victoria and Albert Museum, London, 1st May to 22nd June 1975.

Chinese Jade Throughout the Ages, London, 1975, cat.no. 421.

The lower tip of one horn of the qilong has broken off and has been filled in, as visible in the catalogue. Otherwise the piece is in very good condition overall. The illustration colours are accurate, although perhaps slightly richer in tone .
"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."

Yellow jade was much treasured by the Qianlong emperor, whose imperial jade collection surpassed that of any of his predecessors in quality.  The Qianlong emperor's contribution to the improvement of jade crafting techniques and his connoisseurship of jades were notable, whereby he insisted on examining every piece of jade presented to him, spent much time in identifying each piece and recorded his opinion in the form of poems to be published or inscribed on the jades (Yang Boda, 'Jade: Emperor Ch'ien Lung's Collection in the Palace Museum, Peking', Arts of Asia, March-April, 1992, p.82).  

The present piece is very rare and no comparable example appears to have been published.  It is remarkable for its powerful carving and is rendered with great vigour.  The carver has cleverly taken advantage of the colours of the stone, contrasting the dark russet of the waves and the qilong with the brightness of the carp as they leap up from the water. 

Compare a piece of similar design with the double-carp, but of spinach-green jade, in the National Palace Museum, Beijing, illustrated in The Complete Treasures of the Palace Museum, vol. III, Hong Kong, 1995, pl. 49.   

Leaping carp was a popular subject for its auspicious associations.  According to Teresa Tse Bartholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 91, carp swimming upstream in the Yellow River must leap the rapids of Dragon's Gate; the first carp to succeed in doing this transforms itself into dragon.  The feat is a metaphor for a poor scholar who passes the civil service examinations and becomes a high official.