Page 64 - Nov 28 Chinese Art Hong Kong

The present lot, inspired by Chenghua-period design, is very rare for
its apocryphal Chenghua mark, and only one other similar example
appears to have been published. See a doucai ‘lingzhi’ cup, Chenghua
mark, Yongzheng period, in the Palace Museum, Beijing, illustrated by
Wang Jianhua, Palace Museum Collection: Ancient Ceramics, vol.2,
Beijing, 2005, pl.144.
Compare two doucai ‘lingzhi’ fungus cups, Chenghua marks and
period, from the Qing Court Collection, illustrated in The Complete
Collection of the Treasures of the Palace Museum: Porcelains in
Polychrome and Contrasting Colours, Shanghai, 2007, no.181;
and see five further examples, Chenghua marks and period, in the
National Palace Museum, Taipei, illustrated in Catalogue of the Special
Exhibition of Ch’eng-hua Porcelain Ware, Taipei, 2003, nos.145-149;
see also a similarly decorated cup, Wanli mark and period, in the Sir
Percival David Collection, in the British Museum, London, illustrated by
M.Medley, Illustrated Catalogue of Ming Polychrome Wares, London,
1978, pl.II, no.10.
Chenghua mark and period; image courtesy of the
Palace Museum, Beijing A number of similar examples, Yongzheng mark and period, are in
明成化，「大明成化年製」款，北京故宮博物院藏 important museum collections; see three cups from the Sir Percival
David Collection, in the British Museum, London, published by
M.Medley, ibid., nos.160 and 167; and another from the collection
of the Hon. M.W.Elphinstone, in the British Museum, museum
no.1925,1028.2; and a further example illustrated in The Complete
Collection of the Treasures of the Palace Museum: Porcelains in
Polychrome and Contrasting Colours, Shanghai, 2007, no.235.
The Yongzheng Emperor, though a Manchu, was also a strong
proponent of traditional Confucian thinking in Han Chinese culture,
seeking to achieve cultural continuity, reflected in him continuing
the project of compiling a history of the previous Ming dynasty to
demonstrate the orthodoxy of Qing rule. His fascination with antiquity
led him to repeatedly send antiques from the Palace to the kilns to
serve as standards for quality, models for designs and as inspiration for
innovation; see Harmony and Integrity: The Yongzheng Emperor and
His Times, Taipei, 2009, p.159; and E.S.Rawski and J.Rawson, eds.,
China: The Three Emperors 1662 - 1795, London, 2005, p.245. The
present lot exemplifies that archaism in porcelain which reached its
Yongzheng mark and period; image courtesy of the zenith during the 18th century.
Palace Museum, Beijing The Yongzheng Emperor practiced a balanced combination of
清雍正，「大清雍正年製」款，北京故宮博物院藏
Confucianism, Buddhism and Daoism; however, in later life he became
increasingly involved in Daoist matters related to the ‘elixir of Immortality’,
even bestowing upon a high official the pill of longevity. The design
on the present lot of lingzhi fungus, symbolising the wish for longevity,
would have resonated with the emperor’s pursuit of long life.
A similarly decorated pair of doucai ‘lingzhi’ cups, Yongzheng marks
and period, was sold at Sotheby’s Hong Kong, 8 October 2013,
lot 3094; and another pair was sold at Christie’s Hong Kong, 1 June
2011, lot 3523.

Chenghua mark, Yongzheng period; image courtesy
of the Palace Museum, Beijing
清雍正，「大明成化年製」款，北京故宮博物院藏

62 | BONHAMS