清雍正 粉彩沒骨花蝶紋盌 《大清雍正年製》款

finely potted with deep rounded sides rising from a straight foot, superbly painted in the 'boneless' technique in soft pastel enamels with two large peonies in blush pink tones with smaller attendant blooms and buds, borne on broad leaves furled to reveal their undersides and rendered in varying shades of vivid green, accompanied by two chrysanthemums depicted sprouting across the surface, with a single descending butterfly depicted on the reverse, the base inscribed in underglaze blue with a six-character mark within a double-circle 

Richard Peters Antiques，倫敦，1980年代

The bowl is in fine 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."

This bowl is notable for its style of painting which reflects the innovative developments and fresh confidence of craftsmen working during the Yongzheng Emperor’s reign. Painted in a technique known as the 'boneless style' for its virtually skeleton and outline-free design, the only lines incorporated into the composition are the black lines used to define the veins on the leaves and butterflies. Although this technique was known in painting from the Ming period, it was not widely used on porcelain decoration, most likely because it was too complicated to use on a mass-production scale. It represented a great challenge to the artists as lesser-skilled painters would require outlines to complete their sections of decoration, and if not handled correctly it would give the impression that the piece was unfinished.

Compare a closely related example painted with designs in the 'boneless style' sold at Christie's London, 12th November 2010, lot 1269. See further examples illustrated in The Complete Collection of Treasures of the Palace Museum. Falangcai and Famille-Rose, Hong Kong, 1999, pl. 73; and two pairs of bowls published in The Tsui Museum of Art. Chinese Ceramics IV, Hong Kong, 1995, nos. 150 and 151.