Page 104 - Bonhams Chinese Works of Art June 2015 Hong Kong

imitate a variety of materials such as coral, silver and bronze, wood,
Image courtesy of the Palace Museum, Beijing
北京故宮博物院藏
The magnificent famille rose teadust-ground vase is extremely rare and
no other example appears to have been published.
The vase is an outstanding example of Qing dynasty innovation and
experimentation during the 18th century in form, glaze and decorative
design.
The form of the vase, whilst demonstrating boldness and confidence
in shape and size, is also a continuation of monochrome vases of the
preceding Yongzheng period, which were in turn inspired by bronze
archaic vases of the late Spring and Autumn period and Han dynasty
(6th to 2nd century BC): see for example a smaller celadon-glazed
vase, Yongzheng mark and period, sold at Sotheby’s Hong Kong
on 8 October 2010, lot 2671. The archaic inspiration of the present
vase follows the Qianlong emperor’s call to ‘restore ancient ways’,
referring to the view of ancient culture as having intrinsic qualities
of sincerity, simplicity and happy exuberance. For this purpose the
emperor instructed the court to collect drawings of antiquities, such as ground famille rose pierced-rim dish, Qianlong seal mark and of the
the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities), which were then
provided to craftsmen for inspiration. See Chang Li-tuan, The Refined
Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades
of the Ch’ing Court, Taipei, 1997, pp.49-50.
Innovative and archaic-inspired porcelain production reached its peak
during the Qing dynasty, under the direction of Tang Ying (1682-1756)
who was sent by the imperial court to Jingdezhen as Superintendent
of the imperial porcelain works, circa 1728-1748. An important
element of this innovation was achieved through experimentation
in monochrome glazes and the playful simulation using porcelain to
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lacquer, and bamboo. The glaze on the present vase, known as
‘teadust’ is a crystallised glaze, which reached its maturity during the
Yongzheng and Qianlong periods. Known as Chang guan (Factory
glaze) in Qing texts, it is composed of yellow and olive specks
resembling the tea dust. Due to varied firing conditions, a diverse
range of tones results, with a subsequent flurry of names such as ‘eel
yellow’, ‘crab-green’, ‘snake-skin green’ and others.
The combination of teadust monochrome glaze with famille rose
decoration is extremely rare. However, for a related example combining
a monochrome glaze with famille rose enamelled medallion decoration
from the Qing Court Collection, see a large famille rose bronze-brown-
ground double gourd vase, Qianlong, illustrated in The Complete
Collection of Treasures of the Palace Museum: Porcelains with
Cloisonne Enamel Decoration and Famille Rose Decoration, Hong
Kong, 1999, pl.138. For another example see a famille rose teadust-
ground double gourd vase, Qianlong seal mark and period, produced
in 1743, during the superintendence of Tang Ying, now in the National
Palace Museum, Taipei, illustrated by Liao Pao Show, Stunning
Decorative Porcelain from the Ch’ien-lung Reign, Taipei, 2008, pl.67.
The four circular medallions, one on each side, divided to two pairs
each in mirror image of the other, are vibrantly decorated in the famille
rose palette with floral blossoms including tree peony, rose, aster,
pink and lingzhi fungus. The peony known as the ‘King of flowers’
represents Spring and the lingzhi fungus the wish for longevity;
combined they are symbolic of renewal.
Other than these auspicious meanings, the medallions also appear
to establish a ‘window’ to an idyllic garden scene for the viewer to
contemplate. Idealised visions of nature are presented by the flowers
and plants growing naturally and unrestrained amidst the rocks,
beneath the overhanging branches suspending lanterns swaying gently
in the wind. The use of medallions to invite and bring a viewer to ‘a
world beyond’, by depicting miniature landscapes and garden scenes,
seemed to have gained exceptional prominence and favour during
the Qianlong emperor’s reign. There are many examples of Qianlong
period famille rose porcelain with landscape medallions in the imperial
collections including a pair of ruby-ground bowls and a reticulated
ruby-ground vase in the National Palace Museum, Taipei, illustrated by
Liao Pao Show, ibid., pls.12 and 69. It is interesting to note that the
famille rose medallions on both the present vase and latter example in
the National Palace Museum are raised. This would have been another
consideration and challenge during the potting process, requiring
dexterous and precise craftsmanship.
The unusual harlequin design of the tasselled lanterns can also be
seen in the diamond-shaped geometrical elements on a turquoise-
period, in the National Palace Museum, Taipei, museum no.12703.
Compare also the cross-shaped elements on a famille rose gilt ground
double-gourd vase, Qianlong seal mark and of the period, in the
Jiangxi Province Jingdezhen Pottery and Porcelain Museum, illustrated
in China’s Jingdezhen Porcelain Through the Ages, Qing Dynasty,
Beijing, 1998, nos.194 and 195. See also a rare pair of famille rose
yellow-ground moonflasks, Qianlong seal marks and of the period, with
harlequin designs and decorated with dragon boats, sold at Sotheby’s
Hong Kong, 11 April 2008, lot 2821.
The vase of bold proportions, imposing size and complex decorative
and technical design, is a manifestation of Qing dynasty opulence and
virtuosity achieved by the master-potters during the Qianlong period.
Made for the pleasure of the emperor and the imperial court, this vase
was very possibly the result of a special, arguably unique, commission.