A LARGE DOUCAI 'LOTUS AND BATS' JAR AND COVER QIANLONG SEAL MARK AND PERIOD

the baluster body rising from a recessed base to a short waisted neck with everted rim, brightly painted, enamelled and gilt with bats in flight amidst lotus strapwork, all between a lotus lappet band at the foot and a ruyi band at the shoulder, the interior and base turquoise, the stepped domed cover similarly decorated with lotus strapwork and surmounted by a later gilt finial

The enamels to both jar and cover brilliantly retained. The jar with 2 rim cracks measuring approximately 85mm and 36mm. Otherwise in excellent general condition. Some deep scratching to the surface and minor firing imperfections. Would greatly benefit from professional cleaning. The cover with five chips to the rim (measuring approximately 46mm; 8mm; 18mm; 35mm and 50mm), each with traces of old painted restoration. The largest chip (50mm) primarily to the underside of the rim, and with associated crack measuring approximately 85mm. The knop finial replaced. Old label reading 'W.J.AUDSLEY' to the interior. Both jar and cover with wear and rubbing, particularly to the turquoise enamel to interior rim of cover.
"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."

Porcelain manufacturing reached its zenith of development under the Qianlong emperor, who had a deep appreciation for wares that combined aesthetic harmony with technical virtuosity. This vase is a masterpiece for its large body that has been magnificently decorated with an ornate composition of foliate lotus scrolls and bats in rich doucai enamels. The sumptuous quality of the vase is accentuated by the restrained use of gilt paint and reflects the exceptional standard of quality of its time.

No other closely related vase appears to have been published; for a Qianlong mark and period vase painted with a related design of four bats surrounding a central lotus bloom amidst a foliate scroll, see an ovoid vase with the tall neck and foot encircled by stiff leaves and flanked with dragon handles, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 955; and another sold in these rooms, 1^st/2^nd April 1974, lot 322. A Qianlong vase and cover of this form, but of much smaller dimensions and decorated with iron red bats flying amongst scrolling clouds also highlighted with gilt, included in the Min Chiu Society exhibition Joined Colors. Decoration and Meaning in Chinese Porcelain, Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C., 1993, cat. no. 71, and was sold at Christie's Hong Kong, 29^th April 1997, lot 748, from the Jingguantang collection. Compare also a Qianlong mark and period ovoid jar of slightly narrower proportions, but lacking its cover and decorated with a wide band of foliate lotus scrolls between formal bands of bats, sold twice in our Hong Kong rooms, 14^th November 1983, lot 160, and again, 29^th October 1991, lot 219. 

Doucai decoration, where the motif is outlined in blue under the glaze and coloured over the glaze with enamel within the blue lines, is derived from the cloisonné technique of the Ming period. The technique of producing doucai wares was developed in the Chenghua period (1426-35), resulting in the delightful Chenghua chicken cups and stembowls. Doucai wares continued to be appreciated during the Qing dynasty for their understated elegance and for their association with Chenghua porcelain, and were particularly appreciated by the Yongzheng and Qianlong emperors who commissioned very fine examples of these wares to be made.