元末 / 明初 青花纏枝蓮紋罐

robustly potted in ovoid form with a short splayed neck set with a slightly everted rim flange, boldly painted in a dark, greyish cobalt blue with a broad stylised lotus scroll around the centre, with six large blooms alternating in full view and in profile among dense scrolling foliage and attendant buds, set between pendent and upright petal lappets draping the shoulder and skirting the waist, the shoulder lappets containing Buddhist and other auspicious emblems supported on lotus flowers, the lappets below with further emblems alternating with lotus sprays, all below a knobbed classic scroll collaring neck and a lingzhi scroll around the foot

玫茵堂收藏
香港蘇富比2011年4月7日，編號42

康蕊君，《玫茵堂中國陶瓷》，倫敦，1994-2010年，卷4，編號1623

There are 3 long star cracks starting around the lower lappets and extending down to the foot and upwards towards the flowers. The cracks are quite clear and there is little restoration around them. About 1/3 of the mouth has been covered with overpaint, but it is not clear what damage is being concealed. The painting is very good and the control of the cobalt is also very good.
"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 style of this lotus scroll with its dense frilly petals and curling foliage, as well as the solid construction of the jar and the colour of the cobalt blue all suggest a date very late in the Yuan or early in the Ming dynasty, in the Hongwu period. Altogether, the painting style seems closer to Yuan dynasty prototypes than to the fully developed Hongwu designs, which tend to be more strictly composed and executed in a paler cobalt blue, and would seem to represent a different stage in the development of blue and white porcelain.

A companion piece to this highly unusual jar from the Au Bak Ling collection, sold in these rooms 3rd May 1994, lot 33, was included in the exhibition 100 Masterpieces of Imperial Chinese Ceramics from the Au Bakling Collection, Royal Academy of Arts, London, 1998.