A WHITE JADE ARCHAISTIC VASE AND COVER QING DYNASTY, QIANLONG PERIOD

of flattened form, the baluster body rising from a stepped foot, the waisted neck surmounted by a lipped rim and flanked by a pair of mythical beast-mask handles each suspending a loose ring, finely carved in low relief to each side with a stylized taotie mask, all between bands of ruyi heads above the foot and below the rim, the domed cover similarly decorated and surmounted by a plain finial, the softly polished stone of an even color with some icy-white inclusions, textile stand (3)

Acquired in Boston, 2001. 

The vase in generally good condition, but with approximately five areas of opaque white and russet inclusions that produced very shallow fritting when carved. Otherwise, only very minor expected surface wear. The cover also in good condition but with one shallow-fritted area of inclusion. In both, the actual color of the stone is slightly less celadon compared to 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This masterfully carved vase encapsulates the Qianlong Emperor’s reverence for the past and his passion for jade. It is outstanding both for its exceptional quality stone and crisp design on an elegant form. The confident carving of the taotie mask and the three-dimensionality of the two animal-head handles perfectly complement the white even tone of the stone. Jade vases are often unique, as their size and decoration depends entirely on the jade stone used to fashion them. The proportions and taotie mask on this piece are closely related to a vase in the National Palace Museum, Taipei, included in the Museum’s exhibition The Refined Taste of the Emperor. Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, cat. no. 5.

A hu vase carved with a related mask, in the Asian Art Museum of San Francisco, is illustrated in René-Yvon Lefebvre d'Argencé, Chinese Jades in the Avery Brundage Collection, Tokyo, 1977, pl. LII, where the author mentions a further similar vase in the Museum’s collection, dated 1789, p. 118; and a yellow jade vase, with a Qianlong mark and of the period, in the Palace Museum, Beijing, is published in Zhongguo yuqi quanji, vol. 6, Shijiazhuang, 1993, pl. 132.

In response to the ‘vulgarization’ of Chinese jade carving in the 18th century, which was characterized by decorative high-relief carving, the Qianlong Emperor commissioned a large number of jades which were inspired by the forms and designs of antiquity. Jade carvers were encouraged to move away from the ‘new style’ by studying archaic bronze vessels in the Palace collection or in illustrated woodblock prints, and adapting them to the medium of jade. Inspired in both its form and decoration by archaic bronze hu, this vase epitomizes this trend.