Page 39 - Sothebys Important Chinese Art 09/13/17

This exceptionally rare and elegant ewer represents the
height of early Qing porcelain production at the imperial kilns
at Jingdezhen in Jiangxi province. Made during the reign of
the Yongzheng emperor, it illustrates the emperor’s pursuit
of innovative designs and forms as well as the replication
of historical masterpieces as a reminder of the nation’s
glorious past. Such developments were realized through the
exceptional talent and creativity of potters working under the
instruction of Tang Ying (1682-1756), the most accomplished
superintendent at Jingdezhen during the early Qing period.
The distinctive form of this ewer is likely derived from
European or Middle Eastern metalwork, although the model on
which is was based is still to be identi ed. Whilst its intended
purpose is also unknown, this form is known as huajiao
or ower watering jug, although the shape is equally well
suited to pouring wine. The form clearly found favor with the
Yongzheng emperor, as a range of examples, both with and
without handles, can be found in blue and white as well as with
monochrome glazes.
Compare a closely related ewer of the same form and design
in the Palace Museum, Beijing, illustrated in Gugong Bowuyuan
cang. Qing dai yuyao ciqi [Porcelains from the Qing dynasty
imperial kilns in the Palace Museum collection], vol. II, Beijing, tumultuous Six Dynasties period (222-589), Tao Qian spent a
2005, pl. 44 ( g. 1); and two closely related handled ewers,
also in the Beijing Palace Museum, the rst with scattered
oral sprays encircling the bulbous middle section of the
neck, illustrated in The Complete Collection of Treasures of
the Palace Museum. Blue and White Porcelain with Underglaze
Red, vol. 3, Hong Kong, 2000, pl. 109; the other with a oret
scroll band at the neck, illustrated in Gugong Bowuyuan cang.
op. cit., pl. 43. Further related examples include one sold in our association with the chrysanthemum ower, would have no
Hong Kong rooms, 26th October 1993, lot 169 and illustrated
in Imperial Perfection. The Palace Porcelain of Three Chinese
Emperors. A Selection from the Wang Xing Lou Collection,
Hong Kong, 2004, pl. 8, and another, formerly in an English
private collection, sold at Christie’s London, 7th November
2006, lot 196.
For examples applied with a white glaze, see one formerly
in the collections of Sir Harry Garner and Edward T. Chow,
illustrated in Regina Krahl, Chinese Ceramics from the
Meiyintang Collection, vol. II, London, 1994, pl. 794, and
another in the Grandidier Collection in the Musée Guimet in
Paris, illustrated in Oriental Ceramics. The World’s Greatest
Collections. Musée Guimet, vol. 7, Tokyo, 1982, pl. 170; and a
third in the Palace Museum illustrated in Gugong Bowuyuan
cang. op. cit. pl. 90.
A handled example applied with a ambé glaze, also in the
Qing court collection, is illustrated in op. cit, pl. 143; another
was sold in our Hong Kong rooms, 21st March 1979, lot 101. A
ewer of this form but applied with a teadust glaze is illustrated
in The Complete Collection of Treasures of the Palace Museum.
Monochrome Porcelain, Hong Kong, 1999, pl. 244. A number
of incised celadon-glazed ewers of similar form have been sold
at auction, including one with a handle, sold in our Hong Kong
rooms, 20th May 1980, lot 80; and one without a handle, sold
in these rooms, 15th June 1983, lot 316, and later at Christie’s
Hong Kong, 28th November 2005, lot 1312.
Among the most distinctive features of this group of ewers
are the bands of molded chrysanthemum petals encircling
the lower body and shoulder. Porcelain wares inspired by
the multi-layered petals of chrysanthemum owers were a
particular innovation of the Yongzheng period, as evidenced
by a number of dishes, bowls and teapots in chrysanthemum
form. In her article ‘In the Path of Tao Qian: “Chrysanthemum”
Wares of the Yongzheng Emperor’, Arts of Asia, May-
June 2015, pp 72-85, Hajni Elias expands on the symbolic
associations of the chrysanthemum ower and the close
associations with one of China’s most famous poets, Tao Qian
(365–427). Retiring from his o cial position in 405, during the
quiet life tending to his chrysanthemums and writing poetry.
A painting formerly in the Qing court collection, and therefore
likely treasured by the Yongzheng emperor, entitled Scholar
of the Eastern Fence, by the early 13th century court artist
Liang Kai (circa 1140-1210), shows Tao Qian in a landscape,
holding a chrysanthemum ower in his hand. The Yongzheng
emperor was a devout Daoist and the imagery of Tao Qian’s
decision to spend his life contemplating nature, and his direct
doubt resonated with him and may have served as inspiration
for commissioning the manufacture of chrysanthemum-form
porcelain wares.
Fig. 1 A blue and white ewer, Yongzheng seal mark and period
© The Palace Museum, Beijing
IMPORTANT CHINESE ART 37