- 3710
清乾隆 粉彩貼童子「五子登科」圖方瓶一對
描述
- porcelain
Condition
"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."
拍品資料及來源
A related vase was sold in our New York rooms, 4th June 1986, lot 133, and again at Christie’s New York, 16th/17th September 2010, lot 1496; a slightly larger vase of faceted form was sold at Christie’s Hong Kong, 8th October 1990, lot 733; and a third vase, but with Qianlong mark and of the period and further decorated with floral medallions, from the collection of Marcus D. Ezekiel, illustrated in Hobson, The Later Ceramic Wares of China, London, 1925, pl. LX, fig. 2, was sold at Christie’s London, 12th December 1977, lot 211, and again in these rooms, 29th November 1978, lot 318. Vases decorated in various palettes and applied with figures include two Qianlong mark and period examples, in the Palace Museum, Beijing, one illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 49, and the other included in the exhibition China. The Three Emperors 1662-1795, The Royal Academy of Arts, London, 2006, cat. no. 301; a brown-glazed vase, sold twice in our New York rooms, 23rd/24th April 1975, lot 371, and again, 18th March 2008, lot 117; and an unmarked ruby-glazed example, sold in our New York rooms, 7th May 1981, lot 241.
The imagery of boys playing together has been traditionally a popular theme in Chinese decorative arts and represents the wish for many sons and grandsons. Male heirs were required for families in order to perform ancestral sacrifices and to ensure the continuation of the family life-line, which was central to Confucian ideology. The boys on this vase are an auspicious visual pun and a rebus for the phrase zisun ping'an which can be translated as 'peace among sons and grandsons', with the word for vase (ping) a homophone to the word for peace (ping'an).