AN EXTREMELY RARE ROBIN'S EGG GLAZED DOUBLE-GOURD BRUSHWASHER INCISED SEAL MARK AND PERIOD OF YONGZHENG

robustly potted with a flat shallow well conforming to the curves of a double-gourd with a slightly incurved mouthrim, the base with a meandering vine issuing a large palmette leaf, two small double-gourds and long curling tendrils, brightly covered overall with an opaque turquoise-blue glaze type suffused with a finely mottled purplish-blue, the base deeply incised with a four-character seal mark, wood stand

There is a small triangular shaped glaze flake measuring approx. 0.6 x 0.4 x 0.4 cm. to the interior of the tray as visible from the catalogue illustration.
"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 even dappled effect of this charming washer, skilfully conceived in the form of a double gourd complete with scrolling tendrils and leaves on the underside, is a mature example of the development of robin’s egg glaze that was pioneered in the Yongzheng period. The Yongzheng Emperor, who initiated many revivals of earlier ceramics techniques, was particularly enamoured with the variegated Jun glazes of the Song and Ming dynasties. In order to have the glazes imitated or recreated he went as far as sending potters from the imperial kilns on study trips to the Jun region in Henan province. Among the many types of glazes derived from these efforts are mottled purple wares such as the flambé, and mottle turquoise ones such as the ‘robins’ egg’ varieties.

Robin’s egg glaze is a bicolour glazing technique whereby the turquoise glaze was blown onto the blue-glazed vessel to produce a delicate stippled effect. It is also known as lujun or ‘furnace Jun’ in China due to the low temperature of the furnace when firing the glaze. Earlier examples were prone to streaking and unevenness in texture; as such Yongzheng vessels such as the present are rare. Yongzheng mark and period vessels covered in a robin’s egg glaze include a miniature vase, from the Qing Court collection and still in Beijing, published in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 187; and a rectangular jardinière sold in these rooms, 11th April 2008, lot 2816.

According to Regina Krahl in ‘The Yongzheng Emperor: Art Collector and Patron’, China. The Three Emperors 1662-1795, London, p. 243, the ‘Yongzheng Emperor was the first true art-lover among the Manchu rulers… who passionately cared for and lived with works of art’. Whereas the Kangxi emperor took interest in the mastery of technical challenges, Yongzheng took pride in the artistic aspect of their creations. The signature works of his reign are the deceptively simple wares such as the present, which made great demands of the potters’ aesthetic conception and ability. His enjoyment of art resulted in the reinvention of many vessels, including those for the studio. Waterpots, brushpots, water coupes were all influenced and often drew inspiration from nature, not merely in decoration but also in form. For example, see a lingzhi form washer covered in a guan-type glaze, in the National Palace Museum, Taipei, included in the Museum’s exhibition Harmony and Integrity. The Yongzheng Emperor and His Times, Taipei, 2007, cat. no. II-77; and a peach-shaped example, from the Qing Court collection and still in Beijing, published in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 207.

The form of this washer, with its shallow walls and asymmetrical shape, closely resembles a Songhua inkstone of the Yongzheng period, in the National Palace Museum, Taipei, included in the Museum’s exhibition Harmony and Integrity. The Yongzheng Emperor and His Times, Taipei, 2007, cat. no. II-14