Page 87 - Sothebys Important Chinese Art April 3 2018

fig. 1
Blue and white ‘dragon’ vase, tianqiuping, seal mark and period
of Qianlong
Sotheby’s Hong Kong, 25th April 2004, lot 309

The effectiveness of the present vase is a result of Tang Ying’s Compare another Qianlong mark and period tianqiuping,
reinterpretation of the design and form. The shoulder has decorated with Ming-inspired fruiting branches against a
been raised slightly so the body tapers down towards the foot, yellow ground, sold in these rooms, 8th April 2014, lot 3008;
heightening the elegance of the silhouette. The vivid yellow and its blue and white counterpart sold in our New York and
ground provides an attractive contrast for the dragons that are London rooms, and most recently again in these rooms, 9th
rendered in brilliant cobalt. Although the dragons are slightly October 2012, lot 121, from the collection of Alice Cheng.
smaller than those on the Ming and Yongzheng prototypes, The predecessor to this blue and white version, bearing a
they retain their sense of power by being rendered primarily on Yongzheng reign mark and of the period, from the Qing court
the upper half of the globular body as they stride freely among collection and still in Beijing, is illustrated in The Complete
the lotus scrolls, which appear to be hovering in reverence Collection of Treasures of the Palace Museum. Blue and White
of the imperial creatures. This vase also epitomises how Porcelain with Underglazed Red (III), Hong Kong, 2000, pl. 83.
manipulating negative space in the overall composition helps
Further Qianlong vessels decorated with early-Ming inspired
to achieve balance and harmony. Such attention to seemingly
designs on a yellow ground include a vase and a moonflask,
minor details stresses the importance of these individual
in the Palace Museum, Beijing, published ibid., pls 234 and
vases.
235, together with a Yongzheng mark and period moonflask,
Another innovation is the masterful use of a transparent pl. 233; and several meiping, such as one, closely resembling
turquoise wash to the established blue and yellow palette, the form of the Yongle original, sold in these rooms, 13th
as seen on the waves collaring the mouth and bordering the November 1990, lot 255; another sold at Christie’s Hong Kong,
foot. The cobalt and yellow combination also derives from 28th April 1996, lot 56; and a pair sold in our New York rooms,
the early Ming period, first appearing on porcelain during 31st May 1989, lot 183. For examples of the Xuande underglaze
the Xuande period (r. 1426-1435) to result in a new genre of blue and yellow originals see four dishes decorated with
decoration. It is thought that such wares embellished in this various fruit and flower motifs, excavated from the imperial
fresh style formed a complete service for the Emperor, with kiln site at Jingdezhen, included in the exhibition Jingdezhen
pieces produced under succeeding Ming emperors made to chutu Ming Xuande/ Xuande Imperial Porcelain Excavated at
replace broken originals. While the practice was revived in the Jingdezhen, Chang Foundation, Taipei, 1998, cat. nos 78-2,
Qing dynasty to adorn a greater variety of vessels, as yellow 82-2, 85-3 and 88.
was favoured for its direct imperial association, the subtle
The Mandate of Heaven is a philosophical theory first used to
turquoise addition complements and increases the richness
support the rule of the Zhou dynasty kings, postulating that
of the piece; this technique is seen on a Qianlong mark and
Heaven would bless the authority of a just ruler, but would be
period vase, in the Palace Museum, Beijing, published in The
displeased with a despotic ruler and withdraw its mandate. As
Complete Collection of Treasures of the Palace Museum. Blue
a foreign Manchu ruler in China, the Qianlong Emperor was
and White Porcelain with Underglazed Red (III), Hong Kong,
eager to affirm his position by immersing himself in learning
2000, pl. 236; and a lobed moonflask, with a Yongzheng reign
the philosophies, history and culture of Han China, following
mark and of the period, sold at Christie’s Hong Kong, 30th
in the footsteps of his grandfather Kangxi (r. 1622-1722) and
November 2011, lot 2944.
father Yongzheng (r. 1723-1735).
IMPORTANT CHINESE ART 85