Page 14 - Sotheby's Asia Week March 2024 Chinee Art

IMPERIAL FLORALS IN COBALT:

AN EXCEPTIONAL AND IMPRESSIVE QIANLONG BLUE AND
WHITE MOONFLASK

繁花抱月：青花纏枝花卉紋開光福壽雙全抱月瓶

This magnificent flask represents the height of ceramics of the pigment, they deliberately painted in darker dots to
production at the imperial kilns at Jingdezhen in Jiangxi recreate the accidental imperfections found on early Ming
province during the Qianlong reign (1736-1795). It is an blue and white examples. This meticulous attention to
exceptional piece for its challenging shape as well as its detail not only showcases the advanced technical skills of
massive size and would have required the highest technical the craftsmen of the period but also reflects a deliberate
skill of the craftsmen. The vessel is further striking for its rich intention to evoke a sense of archaism, an aesthetic
decoration, which is exceedingly rare. inclination that permeated the Qianlong period.
This flattened flask form, originating in metal or glass For its magnificent size, the present moonflask would have
prototypes from West Asia, was adapted in China in the surely been counted amongst the Qianlong Emperor’s prized
Yongle (1403-1424) and Xuande (1426-1435) periods, when possessions. It represents one of the most challenging and
exquisite blue and white porcelain examples were made. By advanced pieces made during his reign. The production of
the time the Ming imperial potters at Jingdezhen adapted exquisitely decorated large and undistorted vessels required
this shape, it retained only a basic relationship to the original considerable expertise from the potter and was a direct
form. They rejuvenated the vessel, creating a sophisticated, result of the Qianlong Emperor’s generous patronage and
faintly elliptical, circular outline with swelling sides, all personal taste.
counterbalanced by a slender cylindrical neck and fanciful
curled handles. Following a lull in production after the 15th Qianlong blue and white moonflasks of this form and
century, Qing potters again revived the form during the design are extremely rare, and very few examples
Yongzheng and Qianlong reigns. appear to have been recorded. See one sold at Christie’s
Hong Kong, 27th November 2013, lot 3422; and another in
Meticulously painted, the bats and peaches seen in the the collection of the Aurora Museum, Shanghai, published
central medallions play a visual pun, conveying wishes for on the Museum’s website. See also a Qianlong blue
good fortune (fu) and longevity (shou). Equally spaced, and white moonflask of a slightly smaller size, superbly
dense lotus scrolls with six flowerheads surround the painted with undulating flower scrolls, sold in these rooms,
medallion on each side, creating a visual symmetry that 20th September 2023, lot 709. Compare further a similar
is pleasing to the beholder. For a Yongle prototype, see moonflask, with a long-tailed chilong medallion at the center
a flat blue and white flask in the Palace Museum, Beijing surrounded by floral scrolls, sold in Christie’s London,
(accession no. 故00143596), published on the Museum’s 10th May 2011, lot 270; another of slightly smaller size and
website, where dense composite lotus scrolls similarly with a central archaic dragon medallion, sold in our London
depicted encircle the central protruding medallion. rooms, 16th May 2007, lot 105; and a slightly smaller
example with similar elephant handles but decorated with
The reference to these early wares is further highlighted on clouds and dragons, illustrated in Geng Baochang ed.,
the present piece in the deliberate ‘heaping and piling’ of the Gugong bowuguan cang wenwu zhenpin quanji: qinghua
cobalt to imitate their predecessor’s mottled effect. Although youlihong, xia / Blue and White Porcelain with Underglazed
Qing dynasty potters had fully mastered the purification
red (III), Shanghai, 2000, pl.132.

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