Page 157 - Sothebys Important Chinese Art April 3 2018

REDESIGNING

TRADITION
A SUMPTUOUS BLUE

AND WHITE VASE

This sumptuous vase is a characteristic product of the early by equally varied European-inspired decorative bands during
Qianlong period, when Tang Ying (1682-1756) was supervisor Tang Ying’s tenure as Superintendent; for example see a pear-
of the imperial kilns in Jingdezhen. It follows in the spirit of shaped vase of related design and flanked with angular ruyi
Yongzheng period blue and white porcelain: archaistic in both handles, published in The Complete Collection of Treasures of
form and decoration yet firmly rooted in the modernity of the the Palace Museum. Blue and White Porcelain with Underglazed
eighteenth century. Every aspect of a vessel was precisely Red (III), Shanghai, 2000, pl. 96; two vases with Yongzheng
calculated and planned but at the same time endowed with a seal marks and of the period, one with a broad angled shoulder
sense of effortless elegance. Only two closely related vases and garlic mouth, and the other of hu form with archaistic
appear to have been published, both sold in these rooms, the animal-head handles, illustrated ibid., pls 93 and 95, together
first, 29th November 1977, lot 221, and the second, 15th May with their Qianlong counterparts, pls 121 and 136 respectively,
1990, lot 154. Compare also a Qianlong mark and period vase all from the Qing court collection; and a Qianlong mark and
of related type, but with a markedly more stylised design and period tianqiuping sold in these rooms, 5th October 2011, lot
ruyi handles, from the collection of W.P. Foss, sold in these 1919.
rooms, 21st/22nd May 1979, lot 180, and again at Christie’s
Beautifully potted and painted in deep underglaze blue, the
Hong Kong, 27th November 2013, lot 3383.
artisan’s skilful command over his material is further evident
The importance of this vase is evidenced by the eight in the varied use of the cobalt pigment. The fine and precise
different decorative design bands that encircle the body, outlines of the main lotus scroll highlight the exceptional
auspicious in the number itself, and the carefully crafted quality of the decoration painted in the style that closely
ruyi handles that flank either side. Notably, while many of simulates the ‘heaping and piling’ of cobalt blue seen on some
the designs are borrowed from celebrated early-fifteenth of the most accomplished Ming dynasty wares. This painting
century originals, European rococo designs and has influenced technique served to heighten the three-dimensional quality of
the overall aesthetic of this vase, thus endowing this piece the design and belonged to a special group of blue-and-white
with a modernity true to the spirit of the early Qing dynasty. wares. For a discussion on the use of ‘heaping and piling’ on
This rococo influence is evident on every design band, Qing ceramics, see Julian Thompson’s introduction in Chinese
except for the geometric scroll: the leaves of the lotus scroll Porcelain. The S.C. Ko Tianminlou Collection, Hong Kong, 1987,
resemble acanthus leaves in their curling forms, ruyi heads p. 30.
are interspersed with ‘C’ scrolls, and the stiff leaf border, an
This magnificent vase from the collection of the Viscounts
iconic design from the Yongle reign (r. 1403-1424), is also
of Santa Margarida is possibly one of the earliest Qianlong
embellished with a curl at the end of each luxuriant leaf. The
imperial porcelain vases to have come to Europe. It was
interlocking bat design on the shoulder is also highly unusual,
collected by Joao Saldana e Silva (1743-1815), a knight of the
an ingenious method of incorporating Chinese auspicious
Order of Christ who was personally recognised by the King
motifs into a Western-style interlocking border. The success of
of Portugal with his own coat of arms. Active in trade in the
such a complex arrangement lies in the craftsman’s masterful
Far East, an extensive Chinese export porcelain set featuring
understanding of how the negative space is as important in the
this armorial was commissioned in the late 18th century.
overall design as the skilfully rendered cobalt-blue designs.
Decorated in green and gold with a crest-shape enclosing the
Vases decorated with the iconic early Ming-style motif of words Saldanha e Silva, the armorial service was handed down
scrolling lotus were made in a variety of forms and surrounded through the generations of this aristocratic family, together
with the current vase.

IMPORTANT CHINESE ART 155