A superb blue and white 'Bajixiang' moonflask seal 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. BIDnow ONLINE BIDDING SERVICE IS NOT AVAILABLE.





 



the circular body rising from a splayed rectangular foot to a cylindrical neck flanked by a pair of 'S'-scroll handles, finely painted in varying tones of cobalt-blue enhanced by simulated 'heaping and piling', each side centred on a large boss with a floral medallion comprising ruyi-shaped petals, enclosed within a narrow lappet border and bold lotus petal panels containing the Eight Buddhist Emblems, bajixiang, surrounded by a key-fret border, the flat sides with a narrow band of leafy scrolls issuing lotus blooms, the neck and foot each painted with a lingzhi scroll and krey-fret around the rim, inscribed on the base with a six-character seal mark in underglaze-blue

Sotheby's London, 11th December 1990, lot 327.
Christie's Hong Kong, 3/4th November 1996, lot 775.

The moonflask slightly leans back, but otherwise in overall very good 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 exquisitely painted moonflask ranks amongst the finest examples of blue and white wares made during the reign of the Qianlong emperor. The central design is inspired by early Ming decoration, such as that seen on the interior of a Yongle period blue and white basin, in the collection of the Asian Art Museum, San Francisco, illustrated in He Li, Chinese Ceramics: A New Comprehensive Survey, Taipei, 1996, p. 219, no. 398. In its form, it is also after Yongle vessels that were inspired and based on a Middle-Eastern metal prototypes. However, it is worth noting that this flask was also copied and made in silver during the Qianlong period; see a silver moonflask sold in our London rooms, 11^th June 1996, lot 139.

A closely related Qianlong mark and period flask is illustrated in Sekai toji zenshu, vol. 15, Tokyo, 1983, pl. 151; another is included in the Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, vol. 1, Taipei, 1981, pl. 5; and a third is published in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 949. See also a flask from the collection of Edward T. Chow sold in these rooms, 19^th May 1981, lot 544; and another sold in our London rooms, 11^th December 1990, lot 327.