Page 9 - 2020 October 8 HK Fine Classical Paintings

3601

PROPERTY FROM A JAPANESE PRIVATE COLLECTION This magnificent large blue and white vase is a rare example
A RARE LARGE BLUE AND WHITE ‘FLOWER which encapsulates the Qianlong Emperor’s interest in
AND BUTTERFLY’ QUATREFOIL VASE WITH antiquity. Modelled on an archaic bronze hu vase, the elephant
handles are an exotic innovation. The elephant-head handles
ELEPHANT HANDLES continue a design concept developed by the Qianlong
SEAL MARK AND PERIOD OF QIANLONG Emperor, which was favoured for its auspicious symbolism.
The elephant not only represented exoticism, but was also
painted on each lobed side with a ‘butterfly’ medallion closely associated with Buddhism, and the symbol of peace in
encircled by evenly spaced floral scrolls, below floral friezes Daoism. During the Qianlong reign, real elephants were used
encircling the rim and neck, the latter flanked by a pair of in processions when celebrating the Emperor’s birthday, while
elephant head handles, all above scrollwork skirting the
splayed galleried foot, the base inscribed with a six-character representing a time for renewal during New Year festivities. For
seal mark, wood stand and Japanese wood box a Qianlong blue and white vase with elephant-head handles,
see a smaller vase decorated with elements of the bajixiang
36.3 cm, 14¼ in.
in the Wang Xing Lou Collection, included in the exhibition
Imperial Perfection. The Palace Porcelain of Three Chinese
PROVENANCE
Emperors, Minneapolis Institute of Art, Minneapolis, 2004,
Acquired in Kansai, prior to 1970.
cat. no. 12, and its companion piece, sold in these rooms, 8th
October 2009, lot 1699.
HK$ 2,000,000-3,000,000 The size and complex four-lobed oval form of the current
US$ 259,000-388,000 vase is identical to that of a Qianlong celadon-ground famille-
rose vase with gilt elephant head’s handles, decorated with
清乾隆 panels of flowers of the four seasons, sold in our New York
rooms, 20th March 2007, lot 818, and now in the Alan Chuang
青花花蝶紋海棠式象首瓶 collection, illustrated in Julian Thompson, The Alan Chuang
《大清乾隆年製》款 Collection of Chinese Porcelain, Hong Kong, 2009, pl. 108.
For the type of bronze vessel that may have been a model
for Qianlong hu-form vases, see a hu vessel from the late
Eastern Zhou period, 3rd century BC, illustrated in Jenny
So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler
Collections, New York, 1995, no. 51. The luxuriant floral scroll
and intricately painted bands of decoration on the current
hu-form vase include breaking waves, lappets and scrollwork
inspired by early-Ming blue and white porcelain. A closely
related Qianlong blue and white vase of hu form, illustrated
in Chinese Porcelain. The S.C. Ko Tianminlou Collection, Part
I, Hong Kong, 1987, pl. 58, was sold in these rooms, 29th
November 1977, lot 206, and again, 3rd April 2019, lot 16, from
the Tianminlou collection.

Mark

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