Page 39 - Sothebys Imperial Porcelain Private Collection

Outstanding for its bold and dynamic dragon motif, this the Ming imperial potters at Jingdezhen became interested in
moonflask is a grand statement of the Qianlong Emperor’s this shape, it retained only a basic relationship to the original
imperial splendour. In the quest to justify their right to the form. They rejuvenated the vessel, creating a sophisticated,
throne of China as a foreign ruler, the Manchu emperors faintly elliptical, circular outline with swelling sides, all
of the Qing dynasty diligently studied the fabric of Chinese counterbalanced by a slender cylindrical neck and fanciful
society and utilised every type of art to assert their position. curled handles. Following a lull in production after the 15th
Accordingly, craftsmen working at the imperial kilns in century, Qing potters again revived the form, perhaps also due
Jingdezhen were commissioned to refer to great works of to its resemblance to the archaic bronze bianhu, which would
China’s past while simultaneously creating innovative and have appealed to the emperors’ passion for archaism.
contemporary pieces that boasted the excellent workmanship
Closely related blue and white moonflasks rendered with a
of the era.
front-facing dragon are rare; the companion to the present
Immediately striking in its design, the dragons on this piece, in the Shanghai Museum, Shanghai, is illustrated in
moonflask are inspired by early-Ming prototypes yet mark Qingdai ciqi jianding [Appraisal of Qing porcelain], Shanghai,
a departure from their predecessors. Dragons had rarely 1994, pl. 159; and another, but depicted with the dragon
appeared on moonflasks before the Qianlong period, although clutching the pearl, from the Wang Xing Lou collection, is
a few examples from the early 15th century exist, such as a published in Imperial Perfection. The Palace Porcelain of Three
Xuande flask painted with a three-clawed dragon, illustrated Chinese Emperors, Hong Kong, 2004, pl. 20. Compare also a
in Gugong Bowuyuan cang Ming chu qinghua ci [Early Ming larger version (50 cm), but flanked with chilong handles, sold
blue-and-white porcelain in the Palace Museum], vol. 1, in our London rooms, 7th November 2007, lot 407.
Beijing, 2002, pl. 89. The motif of a front-facing dragon first
Dragon moonflasks of this type and ornately-modelled
emerged in the mid-16th century after which it became its
handles were produced in a variety of palettes, attesting to
most commonly depicted form in the decorative arts of the
its popularity with the Qianlong Emperor; a larger doucai
late Ming period, appearing on ceremonial robes, porcelain and
version was sold in our New York rooms, 8th November 1980,
carved objects. However, the Qing rendering of the front-facing
lot 218, and twice at Christie’s New York, 22nd March 1999,
dragon is markedly different from its predecessors. Following
lot 317, and 21st September 2004, lot 331; and another, but
in the highly-detailed and vigorous style pioneered by Liu Yuan
with an additional small dragon emerging from the sea, from
(c.1638-c.1685), an accomplished painted, calligrapher and
the Qing Court collection and still in Beijing, was included in
carver who was employed by the court for a brief period to
the exhibition China. The Three Emperors 1662-1795, Royal
design porcelains for the imperial factory in Jingdezhen during
Academy of Arts, London, 2006, cat. no. 217. Three varieties
the Kangxi reign, this dragon captures the innate strength
of dragon moonflasks, also from the Qing Court collection,
and majesty of the mythical creature. The ferocity of the
are published in The Complete Collection of Treasures of the
creature is highlighted in the eyes that are both fixed on the
Palace Museum. Blue and White Porcelain with Underglazed
flaming pearl and engaged with the viewer to convey the power
Red (III), Hong Kong, 2000, pl. 132, a blue and white version
and beneficence it symbolises. The painter’s expertise with
with a large dragon medallion surrounded by foliate scrolls, pl.
cobalt is evident in the fine details of the face, which has been
232, depicting a puce-enamelled dragon amongst underglaze-
rendered in a combination of painting techniques including
blue swirling clouds, and pl. 235, a yellow-ground with
washes, delicate outlines and pointillism.
underglaze blue version.
In its form, this moonflask makes further reference to its Ming
Compare also a blue and white moonflask rendered with a
predecessors. Early 15th century moonflasks, with double
side-facing dragon and smaller dragon emerging from the
handles and of oval section, probably derived from pottery
water among scrolling clouds, sold in our London rooms, 6th
pilgrim flasks brought into China by Sogdian merchants which
November 2013, lot 16; and another sold in our Paris rooms,
were then reproduced in lead-glazed earthenware. By the time
18th December 2008, lot 68.

IMPERIAL PORCELAIN FROM A DISTINGUISHED PRIVATE COLLECTION 37