A Kangxi blue and white Huqqa base with associated ring-stand, China for the Indian market, 17th Century

of squat bulbous form with narrow neck and mouth, the underglaze blue and white decoration composed of six brackets each enclosing a different flowering stem, the shoulder with a frieze of stylised flowerheads, the round base-ring with a sinuous vine on the concave and convex faces

In overall good condition, a hairline crack along part of the glaze, minor chips and loss of glaze along edges of base ring, as viewed.
"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 present huqqa base, of squat bulbous form and narrow neck, resembles similar pieces made for the Indian market. There are examples in glass, often with gilded decoration but, most famously and more numerously, are those made in bidriware, a corpus of works made from zinc alloy usually inlaid with silver taking the name from its association with the town of Bidar in the Deccan (Zebrowski 1997, pp.224-236). This form, which only appeared in India in the seventeenth century, became so popular that the response by the Chinese for such high demand was quick and even influential.

Mark Zebrowski, in his discussion of the decoration of the bidriware pieces mentions a discernible Chinese influence in the designs used and, from this, it is tempting to imagine that the relation between the imitated Indian works and their Chinese imitators was possibly more symbiotic than linear (ibid., p.232).

This huqqa base also comprises a ring-stand, which is rare on such surviving huqqa bases. Even though this particular ring-stand may not have initially belonged to this huqqa base, it gives us an indication of its original appearance.