Page 110 - Sotheby's Hong Kong Important Chinese Works of Art, Oct. 9, 2022

3645

PROPERTY FROM AN IMPORTANT COLLECTION 清乾隆 青花竹石芭蕉紋玉壺春瓶
A FINE AND RARE BLUE AND WHITE VASE, 《大清乾隆年製》款
YUHUCHUNPING,
SEAL MARK AND PERIOD OF QIANLONG 來源：
28.9 cm 天民樓，1986年購於香港
展覽：
PROVENANCE 《天民樓藏瓷》，香港藝術館，香港，1987年，編
Tianminlou Collection, acquired in Hong Kong in 1986. 號62
《天民樓青花瓷特展》，鴻禧美術館，台北，1992
EXHIBITED
Chinese Porcelain in the S.C. Ko Tianminlou Collection, Hong 年，編號87
Kong Museum of Art, Hong Kong, 1987, cat. no. 62. 《天民樓青花瓷特展》，上海博物館，上海，1996
Blue and White Porcelain from the Tianminlou Collection, 年，編號93
Chang Foundation, Taipei, 1992, cat. no. 87.
Tianminlou qinghua ci tezhan [Special Exhibition of Blue and 出版：
White Porcelain from the Tianminlou Collection], Shanghai 《天民樓珍藏青花瓷器》，上海，1996年，編號93
Museum, Shanghai, 1996, cat. no. 93.
LITERATURE
Blue and White Porcelain from the Collection of Tianminlou
Foundation, Shanghai, 1996, pl. 93.

HK$ 3,000,000-5,000,000
US$ 383,000-640,000

Expertly crafted with an elegant round body tapering to a
flared neck, this vase epitomises the height of early Qing
porcelain production at Jingdezhen, when craftsmen strived
to design innovative wares as well as recreate historical
masterpieces that acted as reminders of China’s glorious
past. Such developments were realised by the hands of
highly skilled and creative potters under the instruction of
talented superintendents, such as Tang Ying (1682-1756)
who was active at Jingdezhen in the Yongzheng and early
Qianlong reigns. Equally crucial was the early Qing Emperors’
eagerness to revive the celebrated porcelain tradition as a
means to legitimise their right to rule.
From the Yongzheng reign, treasured antiquities were sent
to the Imperial kilns at Jingdezhen to be copied and the
Qianlong Emperor increased such commissions. Underglaze
blue porcelains of the early Ming dynasty were particularly
appreciated, as evidenced in Tang Ying’s record of official
porcelain from 1732, which lists copies both of Yongle and
Xuande blue and white wares. While the auspicious motif on
this vase first appeared in the Hongwu reign, it is most likely
that the Qing version was based on a Yongle prototype, such
as a vase in the Palace Museum, Beijing, illustrated in The
Complete Collection of Treasures of the Palace Museum. Blue

Mark

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