Page 229 - Important Chinese Art Hong Kong April 2, 2019 Sotheby's

The deceptive simplicity of this jar, from the minimalist form
to the subtle translucent glaze, conceals the proficiency
involved in creating such a piece. Monochrome wares were
the hardest to make and required the utmost precision in
every stage of their production, as the slightest irregularity
would result in the rejection and destruction of the piece.
The elegant and subtle glaze on this piece was created in
imitation of Longquan celadon of the Song period, and is
given a fresh modern aesthetic through the charming and
unusual globular form. Celadon glazes with delicate, almost
watery tones were made already in the early Ming dynasty,
and were achieved by lessening the amount of iron typically
found in Song dynasty Longquan celadons. The glaze was
further modified during the Yongzheng period to include a
wider variety of tones.
A closely related jar in the Meiyintang collection, is illustrated
in Regina Krahl, Chinese Ceramics in the Meiyintang
Collection, vol. 2, London, 1994, pl. 857; another was sold
twice in these rooms, 15th May 1990, lot 83, and 25th April
2004, lot 267; a third from the collection of W.W. Winkworth,
was sold in our London rooms, 13th February 1973, lot 183;
and a further jar from the collection of Edward Schortman,
was sold in our New York rooms, 3rd June 1987, lot 261,
and at Christie’s New York, 24th March 2004, lot 239.
Compare also a Yongzheng mark and period jar of slightly
more elongated form, from the T.Y. Chao collection, included
in the exhibition Ch’ing Porcelain from the Wah Kwong
Collection, Chinese University of Hong Kong, Hong Kong,
1973, cat. no. 13, and sold in these rooms, 19th May 1987, lot
284, and in our New York rooms, 24th March 1998, lot 666;
and another with cover from the J.M. Hu collection, included
in the exhibition Qing Imperial Monochromes. The Zandelou
Collection, Shanghai Museum, Shanghai, 2005, cat. no. 15,
and sold in these rooms, 9th October 2012, lot 110.
This form is also known painted in underglaze blue, such as
a jar with cover painted with a flower scroll in the National
Palace Museum, Taipei, included in the Museum’s Special
Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain
Ware from the Ch’ing Dynasty in the National Palace
Museum, Taipei, 1986, cat. no. 29; another lacking the cover,
sold in these rooms, 20th May 1986, lot 67; and a third
painted with sprays of fruits and flowers, from the R.F.A.
Riesco collection, illustrated in Sir Harry Garner, Oriental
Blue and White, London, 1973, pl. 75; and sold in our London
rooms, 11th December 1984, lot 406.

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