Page 140 - 2019 October Important Chinese Ceramics Sotheby's Hong Kong

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清 A BLUE AND WHITE ‘FLORAL’ BOTTLE VASE
《
大 乾 SEAL MARK AND PERIOD OF QIANLONG
清 隆
乾

隆 青 the globular body rising from a splayed foot to a tall waisted neck flaring at the rim, boldly
painted to the exterior with rich cobalt-blue tones simulating the ‘heaped and piled’ effect,
年 花 depicting a broad band of composite floral scroll above lotus lappets, the shoulder encircled
by a composite floral meander above pendent ruyi heads divided by moulded horizontal
製 纏 fillets, the tall neck with elongated upright plantain leaves between further ruyi heads and
《 a keyfret band, the rim and foot bordered by a band of cresting waves and a classic scroll
款 枝 respectively, inscribed to the base with a six-character seal mark
花 36.2 cm, 14¼ in.
卉

紋 HK$ 450,000-550,000
賞 US$ 57,500-70,500
瓶

Elegantly decorated with early-Ming inspired motifs, the craftsman of this vase has also successfully simulated the
distinctive mottled ‘heaping and piling’ effect of the celebrated 15th-century blue and white wares through a deliberate
application of darker and thicker spots of cobalt on the design. Beginning with the Yongzheng Emperor, successive
rulers revisited this famous blue and white pattern. Closely related Qianlong period examples include one in the Nanjing
Museum, illustrated in Treasures of the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.
233; one in the Shanghai Museum is published in Zhongguo taoci quanji [Complete series on Chinese ceramics], vol. 15,
Shanghai, 2000, pl. 2; and four vases are illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, vol.
III, London, 1996, pl. 2564, one with an elaborate 19th-century Ottoman gilt-metal cover. Another vase of this type,
from the Toguri Collection, was sold in our London rooms, 9th June 2004, lot 5; another was sold in these rooms, 3rd
December 2015, lot 426; and a third one was sold in our New York rooms, 12th September 2018, lot 148.

Mark

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