Page 88 - 2018 Hong Kong Important Chieese Art

Impressive for its large size, flawless potting and finely A closely related vase is illustrated in Chinese Porcelain.
executed decoration, this vase represents one of the finest The S.C. Ko Tianminlou Collection, Hong Kong, 1987, pl. 58,
porcelain designs influenced by Ming ceramic patterns but where the design is described by Julian Thompson as the
adapted to suit the contemporary Qianlong period taste. The ‘culmination of the long progression of transformation of the
decoration is also notable for the brilliance of the blue cobalt, early 15th century style’, with all the bands of decoration being
which reflects the high level of resources available and the adapted from 15th century designs excluding the quatrefoils
technical excellence of the potters working in the imperial kilns on the shoulder. Another vase of this type, in the Aurora Art
at Jingdezhen under the guidance of China’s most famous Museum, Taipei, is illustrated in Appreciation of Blue and White
Superintendent, Tang Ying (1682-1756). The Qianlong Emperor Porcelains, Taipei, 2008, pl. 52; one believed to have come
is known to have commissioned artists producing wares for from the Royal Collections at Windsor Castle and to have
the court to make pieces that were challenging and striking, been presented by Queen Mary to Sir Ralph Harwood, K.C.B.,
often placing more emphasis on showier aspects of production K.C.V.O. at one time Financial Secretary to King George V and
and on the virtuosity of craftsmanship. Under his tutelage the Controller of the Royal Household, was sold in our London
refinement of the material and advances in craftsmanship rooms, 7th June 1994, lot 358; and a third vase was included in
allowed potters to become more ambitious in their repertoire. the Min Chiu Society exhibition Anthology of Chinese Art, Hong
The making of large vessels, together with the composition of Kong, 1985, cat. no. 185.
a complex design, required much thought and skill to create a
Much smaller vases of this form decorated with a different
harmonious overall product such as the present piece.
design pattern are known; see a Qianlong vase painted with
This hu demanded considerable expertise and the potter a band of leafy lotus blooms above a composite flower scroll
has borrowed extensively from archaic styles and forms band and a larger band of crashing waves, in the National
while creating a piece that is both steeped in tradition yet Palace Museum, Taipei, published in Blue and White Ware of
innovative. The reference to the archaic bronze hu vessel is the Ch’ing Dynasty, Hong Kong, 1968, pl. 2.
a direct response to the Qianlong Emperor, who was a great
Vases of this hu form remained popular and continued to be
connoisseur and collector of archaic bronzes, jades and works made throughout the Qing period; see a Daoguang version
of art. He was also an ardent follower of Tibetan Buddhism,
included in Geng Baochang, Ming Qing ciqi jianding [Appraisal
thus references to symbols such as the bajixiang would have
of Ming and Qing porcelains], Hong Kong, 1993, pl. 510.
ranked among his favourite motifs. Each symbol, the Wheel
of Law, the Conch, the Standard of Victory, the Parasol, the
Lotus, the Vase, the Twin Fish and the Endless Knot, has
been carefully rendered above a lotus bloom containing shou
characters in the centre to result in a highly auspicious and
visually appealing vessel.

86 SOTHEBY’S 蘇富比