A FINE PAIR OF FAMILLE-ROSE BONELESS-STYLE BOWLS MARK AND PERIOD OF YONGZHENG

each delicately potted of hemispherical form supported on a short foot, finely enamelled on the exterior with a puce lotus flower and green pads, the stems intertwining with the stems of another leafy plant with small puce, purple and yellow flowers, the reverse painted with a small butterfly, the interior left undecorated, the pale blue six-character mark written on the base, wooden stands

J. M. Hu Family Collection.

The overall condition is very good with the enamels all intact.
"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 bowl is a fine example of the new confidence among painters during the reign of the Yongzheng emperor where wash and colour were emphasised over line. This technique is known as 'boneless style', as there is virtually no skeleton to the design. The only lines on the entire composition are the black lines used to define the veins on the leaves, and the wings of the butterflies. This technique was not widely used, most likely because it required a special painting skill acquired by only a small number of the potters. It represented a great challenge to artists as unskilled painters would require outlines to complete their sections of decoration, and the piece would give the impression that it was unfinished if the technique was not handled well.

A closely related bowl was sold in these rooms, 22^nd May 1984, lot 144; and another was sold in our New York rooms, 15^th June 1983, lot 350. Compare also a pair of winecups with similar decoration illustrated in The Tsui Museum of Art, Chinese Ceramics IV, Hong Kong, 1995, pl. 150; another pair sold in our rooms, 14^th November 1989, lot 299, and again at Christie's Hong Kong, 30^th May 2006, lot 1442; and a third pair sold in our New York rooms, 23^rd October 1976, lot 304.

Further examples of bowls painted in the same style are illustrated  op. cit., Hong Kong, 1995, pl. 151; and another from the Palace Museum, Beijing, is published in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 73.