Page 86 - important chinese art mar 22 2018

In its complex decoration and elaborate construction, the These hat stands continue the variation and novelty
present pair of hat stands is a rare example of utilitarian characteristic of porcelain hat stands produced from the 18th
porcelain vessels made at the imperial kilns in Jingdezhen. century; see one modeled and enameled to simulate lacquer,
From the Qianlong period, hat stands began to be produced with a Qianlong reign mark and of the period, in the National
in a range of idiosyncratic designs that demonstrated the Palace Museum, Taipei, included in the Special Exhibition of
technical mastery of craftsmen working at the imperial kilns. K’ang-Hsi, Yung-cheng and Ch’ien-lung Porcelain Ware from
Owing to the highly malleable nature of porcelain, these the Ch’ing Dynasty in the National Palace Museum, Taipei,
stands were produced in a variety of forms. Constructed 1986, cat. no. 112; another sold in our London rooms, 16th
from several pieces, every step of its manufacturing process May 2012, lot 179; and a revolving hat stand with openwork
required mastery and precision, from its shaping and " ring to top section, decorated with dragons in famille-rose enamels,
its glazing. In construction and design, the present hat stands in the National Palace Museum, Taipei, exhibited in Stunning
have inherited technical innovations of the Qianlong period Decorative Porcelains from the Ch’ien-lung Reign, National
in their playful combination a number of techniques, such as Palace Museum, Taipei, 2008, cat. no. 75. A Daoguang mark
applique, trompe l’oeil and reticulation. and period hat stand, decorated to the top with dragons
surrounding reticulated medallions, sold at Christie’s London,
The present pair is unusual for the additional molded " gures
8th November 2016, lot 80. Porcelain hat stands were often
who stand on a base enameled to simulate wood. During the
modeled with reticulated upper sections to allow incense to be
Qianlong period, such " gures were more often found adorning
burned within it, thus infusing the hat with a pleasant scent.
vases; see two Qianlong mark and period examples, in the
Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, The imagery of boys playing together has traditionally been
Qianlong. Qing Porcelain from the Palace Museum Collection, a popular theme in Chinese decorative arts and represents
Hong Kong, 1989, pl. 49, and the other included in the the wish for many sons. Male heirs were required for families
exhibition China. The Three Emperors 1662-1795, The Royal in order to perform ancestral sacri" ces and to ensure the
Academy of Arts, London, 2006, cat. no. 301; another sold continuation of the family life line, which was central to
twice in these rooms, 23rd-24th April 1975, lot 371, and again, Confucian ideology. One of the boys holds a vase, and together
18th March 2008, lot 117; and a fourth vase, from the collection they form an auspicious visual pun and a rebus for the phrase
of Marcus D. Ezekiel, illustrated in Hobson, The Later Ceramic zisun ping’an, which can be translated as ‘peace among sons
Wares of China, London, 1925, pl. LX, " g. 2, sold at Christie’s and grandsons’, with the word for vase (ping) a homophone for
London, 12th December 1977, lot 211, and again in our Hong the word peace.
Kong rooms, 29th November 1978, lot 318.

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