A LARGE BLUE AND WHITE 'LOTUS BOUQUET' DISH QIANLONG SEAL MARK AND PERIOD

the rounded sides rising from a tapered foot to a wide everted rim, the interior boldly painted to the central medallion with a ribboned bouquet of lotus flowers, pods and arrowheads encircled by three concentric rings, encircled by a composite floral scroll below a stylised foliate meander, the exterior similarly painted with a composite floral scroll, inscribed to the base with a six-character seal mark

Christie’s Amsterdam, 4th November 1992, lot 231.

There is a restored rim chip to 5 o'clock position of the dish. This area is covered by large amounts of overspray spanning from 4 to 6 o'clock positions. Minor glaze firing imperfections.
"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."

This piece embodies the brilliant creativity of Qing craftsman, who were able to create vessels that successfully combined contemporary developments together with elements stemming from antiquity: the fine porcelain body and smooth tactile glaze, typical of the Qianlong period, and lotus bouquet motif that was inspired by the celebrated wares of the early Ming dynasty. The craftsman has also attempted to imitate the mottled ‘heaping and piling’ effect of early Ming wares, through a deliberate application of small darker spots to the design. This painting technique also served to heighten the three-dimensional quality of the design.

Dishes painted with lotus bouquet were first revived under the Yongzheng emperor, who was keen to see historical masterpieces replicated as a reminder of the nation’s glorious past. Antiques from the Palace collection were sent to the Imperial kilns in Jingdezhen, where craftsmen were instructed to use them as standards for quality, models for designs and as inspiration for innovation. By the Qianlong reign, the style of painting of this motif was slightly altered, becoming more formalised, and was applied on dishes of various shapes and sizes, the present piece being the largest type.

A closely related dish was sold in our New York rooms, 16th/17th September 2014, lot 185; and another, but painted on the cavetto with the sanduo motif, was sold at Christie’s Hong Kong, 26th April 1999, lot 546. Compare also a smaller Qianlong mark and period dish of this design, in the Palace Museum, Beijing, illustrated in Geng Baochang ed., Gugong bowuyuan cang Ming chu qinghua ci [Early Ming blue and white porcelain in the Palace Museum], Beijing, 2002, vol. 2, pl. 203; one from the R.I.C. Herridge collection, sold in our Hong Kong rooms, 26th November 1980, lot 274, and again, 21st May 1984, lot 105; another sold in our New York rooms, 8th May 1980, lot 283; and a third sold at Christie’s London, 14th July 1980, lot 271.

For a Yongzheng precursor to this dish, see one, in the Palace Museum, Beijing, illustrated in Geng Baochang ed., op. cit., pl. 195. Five Yongle prototypes of this lotus bouquet design, in the Ardabil Shrine in Iran, are illustrated in John Alexander Pope, Chinese Porcelains from the Ardebil Shrine, Washington, D.C., 1956, pls 30 and 31.