清乾隆 青花纏枝蕃蓮紋長方倭角四足花盆 《大清乾隆年製》款

of rectangular section supported on four angled feet of ruyi outline, rising to an everted rim with indented corners, deftly painted on each side in bright cobalt tones with a central lotus blossom wreathed by intertwined feathery acanthus scrolls issuing further blossoms, the rim decorated with a 'classic' scroll between double lines above 'S'-shaped key-fret on the outer edge, the interior left white and pierced with two holes for drainage, the base inscribed in underglaze blue with a six-character seal mark, wood stand

香港蘇富比1981年5月20日，編號752

The jardinière is in overall very good condition. There is a shallow nick to the underside of one corner foot and light fritting to its edge (showing on the illustration in the catalogue), there are some typical light scratches to the surface glaze, a few minor pinholes and wear on the interior. The actual tone of blue is slightly less saturated, more soft than the illustration would suggest.
"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 jardinière is notable for the ornate design of lotus blooms amongst foliate scrolls. The cobalt blue has been masterfully applied, rendering the curling acanthus leaves with subtle washes to result in a highly naturalistic design. While the lotus is a traditionally Chinese motif, the style in which the decoration has been painted is inspired by Western painting techniques which were introduced to the court by Jesuit missionaries.

 

Although no other jardinière of this type appears to have been published, the form is known in monochrome porcelains of the Yongzheng period; see one covered with a celadon glaze, from the Wang Xing Lou collection, included in the exhibition Imperial Perfection. The Palace Porcelain of Three Chinese Emperors, the Minneapolis Institute of Arts, Minneapolis, 2004, cat. no. 67, which notes that these vessels are known in Chinese as penjing (pot landscapes) and were popular in the Qing dynasty for miniature gardens or bonsai trees (p. 182).