3021
3021
A FINE BLUE AND WHITE VASE, YUHUCHUNPING
SEAL MARK AND PERIOD OF QIANLONG
Estimation
800 0001 200 000
ACCÉDER AU LOT
3021
A FINE BLUE AND WHITE VASE, YUHUCHUNPING
SEAL MARK AND PERIOD OF QIANLONG
Estimation
800 0001 200 000
ACCÉDER AU LOT

Details & Cataloguing

An Important Collection of Chinese Ceramics

|
Hong Kong

A FINE BLUE AND WHITE VASE, YUHUCHUNPING
SEAL MARK AND PERIOD OF QIANLONG
well potted with a pear-shaped body rising from a gently splayed foot to a waisted neck and flared rim, the exterior painted in cobalt blue with long leafy stems of bamboo and plantain growing beside craggy rocks, amongst a fenced garden landscape with further flowering sprays above a lappet band, all below upright plantain leaves, a foliate scroll and pendent trefoils around the neck, the foot skirted with a band of demi florets, inscribed to the base with a six-character seal mark
28.9 cm, 11 3/8  in.
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Description

Expertly crafted with an elegant round body tapering to a flared neck, this vase epitomises the height of Qing porcelain production at Jingdezhen, when craftsmen strove to design innovative wares as well as recreate historical masterpieces that acted as reminders of China’s glorious past. Such developments were realised by the hands of highly skilled and creative potters under the instruction of talented superintendents, such as Tang Ying (1682-1756) who was active at Jingdezhen in the Yongzheng and early Qianlong reigns. Equally crucial was the Qing emperors’ eagerness to revive the celebrated porcelain tradition as a means to legitimise their right to rule.

From the Yongzheng reign, treasured antiquities were sent to the imperial kilns at Jingdezhen to be copied and the Qianlong Emperor increased such commissions. Underglaze-blue porcelains of the early Ming dynasty were particularly appreciated, as evidenced in Tang Ying’s record of official porcelain from 1732, which lists copies both of Yongle and Xuande blue and white wares. While the auspicious motif on this vase first appeared in the Hongwu reign, it is most likely that the Qing version was based on a Yongle prototype, such as a vase in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglaze Red (I), Hong Kong, 2000, pl. 33. The arrangement of flowers and rocks, the depiction of lappets and the scroll band at the neck, as well as the small lotus flowers at the foot are very similar.

Scenes of sophisticated gardens with fantastic rocks, bamboo, banana trees and other plants began to be painted on blue and white porcelain during the Yuan dynasty, where the motif proved most popular among a Middle Eastern audience who was attracted by the exotic nature of these plants. In the Ming dynasty, the design took a highly symbolic character and embodied the qualities and virtues of the scholar. Bamboo symbolises longevity, endurance and loyalty, as it remains green in winter and does not break in the wind. Rocks symbolise durability and steadfastness and are associated with reliability and friendship. Plantain leaves on the other hand, are one of the fourteen treasures of the scholar and represent education and self-cultivation. Banana leaves were used for practising calligraphy by famous historical figures and poets, including Huaisu (c. 735-c.799). The Qianlong Emperor himself is portrayed writing on a banana leaf as Prince Hongli in the anonymous painting Prince Hongli Practicing Calligraphy on a Banana Leaf, in the Palace Museum, Beijing, included in the exhibition China: The Tree Emperors 1662-1795, Royal Academy of Arts, London, 2005, cat. no. 187.

A closely related vase in the National Palace Museum, Taipei, is illustrated in Porcelain of the National Palace Museum. Blue and White Wares of the Ch’ing Dynasty, vol. II, Hong Kong, 1968, pl. 12; one in the Palace Museum, Beijing, is illustrated in Zhongguo taoci quanji [Complete series on Chinese ceramics], vol. 15, Shanghai, 2000, pl. 12; another was sold in our New York rooms, 20th March 1976, lot 174, and again at Christie’s New York, 17th September 2008, lot 459; a fourth example was sold Christie’s Hong Kong, 30th May 2006, lot 1410, and again in these rooms, 8th October 2010, lot 2773; and a further example from the Tianminlou collection was recently sold in these rooms, 3rd April 2019, lot 17.

Vases of this design were made from the Yongzheng reign through the Xuantong period; a closely related vase is illustrated together with examples from the Yongzheng, Daoguang, Xianfeng and Tongzhi reigns in the Shanghai Museum in Lu Minghua, Qingdai Yongzheng – Xuantong guanyao ciqi [Qing dynasty official wares from the Yongzheng to the Xuantong reigns], Shanghai, 2014, pls 3-107 and 3-32.

An Important Collection of Chinese Ceramics

|
Hong Kong