A LARGE BLUE AND WHITE HEXAGONAL BALUSTER VASE YONGZHENG MARK AND PERIOD

the gently curved sides rising from a short spreading foot to a tall broad waisted neck, painted around the exterior in rich cobalt-blue tones with a broad band of leafy scrolling lotus strapwork below ruyi and keyfret bands at the shoulder and above lotus lappet and keyfret bands at the foot, the neck similarly painted with a broad lotus and a broad wave band divided by a pair of tubular handles with S-shaped scrolls, all below a floret and keyfret band at the rim

A Japanese Private Collection.

The vase is in good overall condition with the exception of some over-painting at the rim, extending the width of one short facet and the respective tips of the corners which appears to be covering a shallow crescent-shaped chip, and a small area of over-painting to another corner, both extending approximately 1.5cm., down the neck; minor glaze scratches and a small area of minor rubbing to one corner of the body.
"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."

Impressive for its large size and finely painted ornate design, it is rare to find Yongzheng vases of this form and decoration. Its shape and painting style both provide an immediate reference to the great works of art of the past in a contemporary and innovative style suited to the aesthetic of the time. A closely related example was sold in these rooms, 9^th June 1987, lot 268; and another, fitted with elaborate gilt-bronze mounts, was sold at Christie's Hong Kong, 28^th April 1997, lot 673.

The shape of the present vase is reminiscent of the hexagonal arrow vases made at the Ge and Guan kilns during the Song period (960-1279), while the painting style is a conscious recreation of early Ming blue and white ware. The porcelain painters of the 18^th century were so enamoured with the appearance of early 15^th-century blue and white that they developed a special painting manner to imitate the accidental imperfections of their models. This 'heaping and piling' effect of darker spots of cobalt blue was achieved through the deliberate uneven dotting.

A related example of smaller dimensions and with an additional floral scroll on the neck, in the National Palace Museum, Taipei, is published in Blue and White Ware of the Ch'ing Dynasty, bk. I, Hong Kong, 1968, p. 76, pl. 6. Vases of this type grew in popularity during the Qianlong reign; see one    in the National Palace Museum, Taipei, included in the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware of the Ch'ing Dynasty, National Palace Museum, Taipei, 1986, cat. no. 68; and another in the Capital Museum, Beijing, illustrated in Gems of the Official Kilns, Taipei, 1993, pl. 84.