Page 193 - SOTHEBYS MARCH 18 AND 19 2025

Fig 1. A ruby-ground sgraffiato famille-rose ‘figural’ handled vase, Qing dy-
nasty, Qianlong period © The Metropolitan Museum of Art, New York
圖1 清乾隆 胭脂紅地軋道粉彩纏枝番蓮紋開光人物圖雙耳大瓶 © 大都會藝
術博物館，紐約

This monumental famille rose vase represents the very Sgraffiato, or sgraffito – the carving through a surface
zenith of Qianlong period enameling on porcelain. With an layer to reveal a contrasting layer below – is a versatile
opulent taste for ornamentation, the Qianlong Emperor technique that first came to prominence in China as
(r. 1735-1795) encouraged potters at the imperial kilns at early as the Song dynasty (960-1279). As enameling on
Jingdezhen to produce grand pieces that combined a wide porcelain developed, the sgraffiato technique was adapted
range of glaze and enamel colors in their repertoire – feasts once again, as imperial artisans carved abstract patterns
for the eyes and lasting tributes to the splendor of his court. of endless scrolling fronds into the rich enamel ground to
reveal the white glazed porcelain below. This technique was
The present vase is delicately and meticulously painted spearheaded at Jingdezhen from around 1741 by famed
with a scene of the Eight Immortals gathering in an idyllic superintendent Tang Ying (1682-1756) perhaps, as Liao
landscape setting. This portrayal, a remarkable work of Pao Show suggests, in an attempt to appease the Qianlong
art in its own right, highlights the expertise of the painters Emperor, after the receiving criticism for inadequate
of the imperial workshop. Reminiscent of scroll paintings porcelain quality in previous years, see Huali cai ci:
produced directly by court artists, turning the vessel in Qianlong yangcai / Stunning Decorative Porcelains from the
one’s hands, one slowly reveals a whole world of detail and Ch’ien-lung Reign, National Palace Museum, Taipei, 2008,
mastery. Whether this decoration was indeed applied under pp 10-41. Compare other vases from this period similar
the auspices of classically trained painters or not, its fine sgraffiato decoration including a ruby-ground meiping
attention to detail and delicate use of color are extraordinary decorated with related flower scroll design in famille rose
and rarely encountered to this degree on vessels of this type.
enamels in the Palace Museum, Beijing, is illustrated in
The ‘Eight Immortals’ (ba xian) depicted here represent Kangxi. Yongzheng. Qianlong, op. cit., p. 361, pl. 42.
eight legendary figures popularly worshipped in the Daoist In its baluster form with dramatic trumpet neck and
tradition as gods of longevity who punish evil, encourage ‘phoenix’ handles, the present vase is also related to a
good and help those in distress. Each immortal comes to number of similar vases from the Qianlong period. Compare
represent a different facet of Chinese society: male and a related unmarked ruby-ground vase of ‘hundred boys’
female, young and old, rich and poor, noble and meek. design, preserved in the Metropolitan Museum, New York
This theme of Daoist Immortals was much favored by (accession no. 17.120.189) (Fig. 1); another unmarked ruby-
the Qianlong Emperor and recreated on a number of ground example of comparable size and ‘immortals’ design,
related vases. Compare another Qianlong vase painted sold at Christie’s New York, 17th September 2010, lot 1420.
with a related Eight Immortals design, from the Qing The opulent ruby ground and vibrant painting of the present
Court Collection and still in Beijing, illustrated in Kangxi. vase may also have been the inspiration for a related lantern-
Yongzheng. Qianlong. Qing Porcelain from the Palace shaped vase of Jiaqing mark and period, depicting a closely
Museum Collection, Hong Kong, 1989, p. 350, pl. 31, together related scene of Immortals, sold in our Hong Kong rooms,
with another Qianlong vase decorated with the design of the 7th October 2010, lot 2163.
Nine Elders on a similar ruby-ground, p. 347, pl. 28.

383