Page 61 - Sotheby's October 3 2017 Chinese Art
P. 61
The Qianlong Emperor’s connoisseurship of arts is well from the Qing imperial household department workshop,
documented and his vast collection, particularly of ceramics, ceramics production in Jiangxi], it is mentioned that in the
contained spectacular masterpieces. For its magnificent and third year of the Qianlong period (corresponding to 1738), a
expertly painted design the present moonflask would have number of large imperial Xuande blue and white moonflasks
been amongst his prized possessions. It represents one of the was reproduced for decoration (see Zhang Rong (comp.),
most challenging and advanced pieces made during his reign. Yangxindian Zaobanchu shiliao jilan [Reader of historical
The production of exquisitely decorated large and undistorted material on the Workshops in the Hall of Mental Cultivation],
vessels required considerable expertise from the potter, vol. 2: Qianlong chao [Qianlong period], Beijing, 2012, pp.
who for this piece borrowed extensively from archaic forms 65-68). For a Xuande lotus scroll decorated moonflask of this
and decorative motifs while retaining a sense of modernity. size, but standing on a very short foot and without handles, see
Reference to ancient forms and designs was much appreciated one in the Qing court collection and still in Beijing, published in
by the Qianlong Emperor who embraced art not only for its The Complete Collection of Treasures of the Palace Museum.
intrinsic beauty but also to cement his connection to a glorious Blue and White Porcelain with Underglazed Red (I), Hong Kong,
past. 2008, no. 98. The reference to these early wares is further
highlighted on the present piece in the deliberate ‘heaping
The Qianlong Emperor’s generous patronage and personal and piling’ of the cobalt to imitate their predecessor’s mottled
taste, which tended towards extravagant and showy pieces, effect.
greatly influenced the making of technically challenging and
artistically complex display pieces. The production of large A closely related moonflask was sold in our New York rooms,
vessels, which are considerably heavy, required the highest 20th September 2000, lot 124, and again in these rooms,
level of technical skill only to be found amongst potters 2nd May 2005, lot 650; another was sold in these rooms,
working in the imperial kilns at Jingdezhen, Jiangxi province, 29th November 1978, lot 231; a third was sold at Christie’s
under the instructions of China’s preeminent Superintendent, London, 12th December 1977, lot 164; and another was sold at
Tang Ying. Imperial records reveal that the Qianlong Emperor Christie’s Hong Kong, 19th January 1988, lot 319. Moonflasks
habitually asked Tang Ying to design special pieces for him, of this type are also known with one central bloom surrounded
thus opening avenues for such fine wares to be created. by eight smaller variations of the lotus in a grid composition
and less stylised leaves encircling the neck; see one illustrated
The decoration on this vase is meticulously executed in the in Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong
finest cobalt blue. The composition of lotus blooms and foliate Kong, 1987, pl. 65; another sold at Christie’s Hong Kong, 1st
scrolls is perfectly balanced through a thorough understanding October 1992, lot 958; and a third sold in these rooms, 24th
of the importance of spacing in successfully creating a rich May 1985, lot 549.
yet not overcrowded design. Such curling lines are offset by
the bold geometric nature of the petal and leaf borders, all of Moonflasks of this dragon-handled form and lotus scroll
which are hemmed in with crashing wave bands around the decoration were also produced with a proportionately smaller
foot and mouth rim – ingeniously selected as they mirror the neck decorated with a lotus scroll; see a larger example with
curvilinear and geometric forms of the overall design. a flared foot, sold at Christie’s New York, 19th March 2008,
lot 606; and a slightly smaller moonflask, but with a shorter
Both the shape and decoration of the vessel take their foot encircled by three lines and the mouth rim with a lingzhi
inspiration from early fifteenth century blue and white scroll, sold in these rooms, 30th April 1996, lot 431. For the
porcelain that formed part of the imperial collection. The Yongzheng inspiration to these vases, see one from the
flat circular form has its roots in archaic bronzes which collection of Dr Chang Hsi-Hai, sold in our New York rooms,
were adapted into porcelain and painted with a luxurious 23rd/24th May 1974, lot 426, and again in these rooms, 16th
lotus design during the Ming dynasty. In Qinggong neiwufu May 1977, lot 93.
zaobanchu dang’an, Jiangxi shao ciqi chu [Archival records
IMPORTANT CHINESE ART 59
