Page 28 - Bonhams Hong K June 2016

The present lot is exceedingly rare and no other example appears
to have been published. It embodies the height of Qing dynasty
porcelain production, reaching its zenith in quality and innovation
under the supervision of the celebrated master potter, Tang Ying
(1682-1756) and the guidance of the Yongzheng emperor. The
complexity of its form and vulnerability underlines the rarity of this lot the Imperial kilns. While still serving the court in Beijing, the Yongzheng
and the importance of its existence, having been safeguarded for
over one hundred years.
In form, the most comparable example is that of a famille rose
moulded candlestick, Yongzheng four-character mark and period,
which was sold at Christie's London on 8 November 2011, lot
406, and later sold at Poly Auction, Beijing, on 6 June 2015, lot
6330. The rare famille rose moulded example, formed part of a
five-piece garniture, comprising an incense burner, two vases and
two candlesticks; see Christie's London, 7 April 1982, lot 62, for an
example of a three-piece famille rose moulded part-set, Yongzheng
mark and period, comprising an incense burner and two vases. The
only other known candlestick of the famille rose moulded type, is
the extant lower section, which was sold in our London rooms on 5
November 2009, part lot 195. Similarly, it is possible that the present
lot would have been part of a five-piece garniture set, as
may be indicated by a similarly decorated iron-red enamelled
'dragon' hexagonal vase, Yongzheng, with similar design with fiery
dragons amidst flames and clouds above crashing waves, which
was sold at Sotheby's Hong Kong on 8 October 2014, lot 3706,
although this example unlike the present lot and the famille rose
moulded examples, does not bear a Yongzheng mark.
A famille rose candlestick, Yongzheng mark and period,
sold at Poly Auction, Beijing, 6 June 2015, lot 6330
清雍正 洋彩浮雕巴洛克式花卉螭龍紋花台
售於北京保利，2015年6月6日，編號6330
Tang Ying, a bondservant of the Plain White Banner at the Imperial
Household Department, had served at the court in Beijing from the
age of 16. Before he became a master potter, he had already been
well versed in painting and calligraphy – accomplishments that helped
him later in his career to boost the quality of porcelain decoration at
emperor already had him create designs for porcelains produced at
Jingdezhen. In 1726 he was sent to supervise the Jingdezhen Imperial
kilns personally, and continued his services during the Qianlong
emperor's reign. In his innovations, Tang Ying turned to Chinese
antiquity for inspiration, but also to the exotic influence of the West,
which began with the Kangxi emperor's fascination with scientific
instruments and technological advancements brought to the Imperial
court by Jesuit priests and artisans, but also continued during the
following Yongzheng and Qianlong reigns. According to the official
list from 1735, recorded on the Taocheng jishi bei ji [Commemorative
Stele on Ceramic Production] composed by Tang Ying, an order from
the Yongzheng emperor was noted: 'Imitate the Western cast vessels,
(including) five-piece altar sets, dishes, vases etc., paint to render
(effect), also emulate the Western painting style'.
The Yongzheng emperor's fascination with the West is aptly
demonstrated in the commissioned portrait showing the emperor in
a European outfit, reinforcing the Imperial image of ruler of 'all under
heaven'; see A.Jackson and A.Jaffer, eds., Encounters: The Meeting
of Asia and Europe 1500-1800, London, 2004, p.8. The modelling
of the present lot, influenced in form by European silver candlesticks,
yet adorned with the Imperial five-clawed dragons amidst clouds
and above breaking waves, islands and bats, provides a cultural link
between East and West, the emperor and the European influence on
Chinese aesthetics.