A RARE RU-TYPE BOTTLE VASE YONGZHENG SEAL MARK AND PERIOD

the slightly compressed lobed globular body rising from a short tapering foot to a tall waisted neck with inturned flat rim, covered overall with a thick pale bluish-grey glaze

With the exception of a 5 x 2mm., glaze pull to the rim, a tiny are of glaze roughness to the rim, areas of light glaze discolouration in particular to the neck and lower body, minor glaze firing imperfections and light surface scratches, this rare vase is in very good overall condition.
"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 vase is an extremely rare and impressive example of the remarkable development in technique designed to meet the specific predilections of the Yongzheng emperor, among which imitation of the antique and innovation were prominent features. Only one other example appears to have been published, but with broad and darker crackles in the glaze, in the Baur Collection, illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 274. Both pieces possess an internal pierced porcelain armature of cylindrical form to support the heavily potted structure, as vessels of this impressive size stood the risk of collapsing during firing, and highlights the technical virtuosity of potters of this period. The rarity of such a piece is not surprising given the high technical and aesthetic standards demanded of the potters in the imperial manufactories.

From the first year of his reign, the Yongzheng emperor commissioned items from the Palace Workshops, whose output changed in nature as a result. Simplicity of form and absence of decoration were stylistic trends introduced by Tang Ying (1682-1756), Superintendent of the Imperial kilns in Jingdezhen. Under his supervision, research into celebrated Song glazes such as Guan and Ge wares saw the re-emergence of monochrome porcelain covered in luminous pale glazes to simulate the earlier wares on contemporary and unique forms.

In form this piece appears to be an amalgamation of porcelain and bronze vessels. The lobed body with tall trumpet neck appears to have been inspired by Ming dynasty bronze vases, such as one included in the exhibition The Second Bronze Age. Later Chinese Metalwork, Sydney L. Moss Ltd., London, 1991, cat. no. 66. The curling fronds seen on the shoulder and base of the Yongzheng vase may also have their origins in the ruyi lappets found on the bronze vase which have been stylised to endow it with a contemporary twist. In its lobed globular body and stalk-like neck, this piece also resembles contemporary vessels in the shape of fruit such as melons and pomegranates; for a melon-shaped jar covered in a teadust glaze, see one in the Qing Court collection and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 253; and a vase in the shape of a pomegranate glazed to simulate Ru ware, in the National Palace Museum, Taipei, published in the Illustrated Catalogue of Ch'ing Dynasty Porcelain, vol. 1, Tokyo, 1980, pl. 126.