A carved celadon-glazed 'archaistic dragon' vase, Seal mark and period of Qianlong

Collection of the Yoshida Kazō Family (by repute).

Celadon wares have long been an eternal symbol of China. With origins tracing back to the Bronze Age, these understated yet imposing wares washed in sea-blues and mossy-greens continued to be popular throughout China’s imperial history and indeed to the modern day. The brilliant celadon glazes created at the Longquan kilns from the Song dynasty had long been a source of inspiration to the potters of the Jingdezhen imperial kilns from at least the early Ming dynasty (1368-1644) and were particularly coveted during the wave of technical innovation that typified the early Qing period. By lessening the amount of iron in the glaze, the Jingdezhen potters of the Qing were able to create a cool and delicate celadon glaze that, when applied on a white porcelain body, resembled the translucency and texture of jade. A wide range of exquisite celadon tones were created in this process, commissioned as a direct response to the Yongzheng (r. 1723-35) and Qianlong (r. 1735-1795) Emperors’ appreciation of Song dynasty (960-1279) porcelain, including douqing [bean-green], a bright sea-green colour, and the present –particularly coveted – fenqing [soft-green] variety. When applied to finely carved  and molded decoration, like the present, the thinning and pooling of this tranquil glaze among the raised lines and recesses create a very delicate shaded effect and accentuate the crispness of the archaic design.  

However, the present vase does not just typify the antiquarian tastes of the Qianlong Emperor in its glazing; rather each aspect of this remarkable piece, from form to decoration, speaks both to the Emperor’s penchant for the archaic and his passion for innovation. For archaic bronze vessels of related angular form that may have served as inspiration to the imperial potters, compare a Western Zhou handled lei wine vessel of slightly more squat profile preserved in the Palace Museum, Beijing, in The Complete Collection of Treasures of the Palace Museum. Bronze Ritual Vessels and Musical Instruments, Hong Kong, 2006, pl. 102; and for similar to scrolling bands of leiwen (key frets) and abstracted kui dragons – typical of Eastern Zhou (770 BC-221 BC) design – compare a similar dragon design on an archaic bronze ding in the Shanghai Museum, attributed to the late Spring and Autumn period (770 BC-476 BC), illustrated in Chen Peifen, Xiashangzhou qingtongqi yanjiu [Study of archaic bronzes from Xia, Shang and Zhou dynasties], dongzhou vol. 1, Shanghai, 2004, pl. 493.

To date, no other vases of this grand and angular form appear to be known. For related Qianlong period celadon-glazed examples carved with similar archaistic designs – many of which also appear to be unique – compare a rounded zun-form vase with handles, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 145; a closely related angular celadon vase of Qianlong mark and period, carved overall with an archaistic motif, illustrated in John Ayers, The Baur Collection. Chinese Ceramics. Monochrome-Glazed Porcelains of the Ch’ing Dynasty, vol. 3, Geneva, 1972, pl. A379; a globular vase with a long neck, decorated with archaistic design in the same technique, illustrated in The Tsui Museum of Art - Chinese Ceramics IV, Hong Kong, 1995, pl. 35, sold at Christie's Hong Kong, 30th October 1995, lot 736A, and again, 27th October 2003, lot 700; and another example, sold in these rooms, 9th October 2007, lot 1522.