A FAMILLE-ROSE 'DRAGON AND PHOENIX' JAR JIAQING SEAL MARK AND PERIOD

the ovoid body rising from a recessed base to a short waisted neck with rolled rim, brightly enamelled around the exterior with a phoenix in flight and a scaly dragon in pursuit of a flaming pearl, all amidst leafy foliate strapwork, fire and ruyi cloud scrolls, between lotus lappet and ruyi bands at the base and neck and a foliate band at the neck, the interior and base glazed turquoise, the mark in iron-red set within a reserved white-ground rectangle to the base

Collection of Mr Robin Johnson, who trained as a lawyer in Australia and spent time in India and China in the late 1800s.

A faint star hairline crack to below the pink lotus below the flaming pearl, measuring approximately 55mm wide by 30mm long; otherwise in very good condition with some rubbing to the gilt borders to the rim and foot and minor surface wear to the enamels. The turquoise enamel to interior speckled black in parts.
"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 jar is especially fine for its painted decoration of a single large five-clawed scaly dragon in iron-red enamel, depicted in an especially lively and robust manner, that is in sharp contrast with the pink-bodied phoenix drawn with soft brushstrokes to highlight the bird’s feminine quality. The overall composition is characteristic of the early Jiaqing period, when designs were often set amid meandering peony and hibiscus on a white body that served as the painter’s canvas, and when the influence of the Qianlong period painting style remained strong and evident. For example, see a large Qianlong mark and period famille-rose vase painted with bright enamels and iron-red with landscape panels on a ground of floral design, sold twice in our Hong Kong rooms, 22^nd May 1984, lot 142, and again, 13^th November 1990, lot 310; and another Qianlong vase, the body covered with floral decoration, included in the exhibition Ethereal Elegance, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2007, cat. no. 126, together with a Qianlong wall vase, also painted in a related fashion with flower scrolls and upright petals around the base, cat. no. 130.

 

The dragon and phoenix motif is full of auspicious connotations, and vessels decorated with two of the most important mythical animals in Chinese tradition were typically made as wedding gifts. The dragon is the symbol of the emperor and represents fertility, while the phoenix embodies the warmth of the sun and helps produce male offspring. The dragon, together with the phoenix, which is also the leader of all winged creatures, symbolises the emperor and the empress, as well as representing marital bliss. When the two animals face each other, as seen on this jar, they convey the message of a happy reunion and good omen.

 

A closely related jar, with its original cover, was sold at Christie’s New York, 15^th September 2009, lot 462; and another, but with a spreading foot, was sold three times in our rooms, in New York, 20^th February 1975, lot 289, again in Hong Kong, 13^th November 1990, lot 308, and more recently in these rooms, 7^th November 2012, lot 103. Compare also a jar painted with a similar design overall above a lappet band, sold at Christie’s London, 5^th June 1995, lot 170.