The shape of this vase derives from a metal form, but more immediately almost certainly from a Song octagonal bottle covered in a monochrome glaze in the Imperial collection. Compare with the Song prototype, an octagonal hu-shaped guanyao vase with flared lip in the National Palace Museum, Taibei, illustrated by Mary Tregear, Song Ceramics, 1982, fig. 154. In the classical revival during the Qing dynasty, potters found inspiration in early wares and often copied them, sometimes incorporating new painted designs, as in the case of the present lot. In the case of the complex shape of this vase, it is not surprising that the Qing potters preferred to employ monochrome glazes in the Song tradition.

Examples exist imitating celadon, guanyao and ruyao glazes. A pair of vases of this form from the Qianlong period, covered in an even ru-type glaze, now in the Shanghai Museum of Art, was included in the Exhibition, Selected Ceramics from the Collection of Mr and Mrs J.M. Hu, Catalogue, no. 72; another in the Palace Museum, Taibei, was included in the Special Exhibition, K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty, 1986, Catalogue, no. 102. A Qianlong-marked vase with the same profile but covered in a robin's-egg glaze in the Chang Foundation, is illustrated in Selected Chinese Ceramics from Han to Qing Dynasties, 1990, no. 157.

The present lot is the only known blue and white example, showing a pleasing and successful combination of Song form with Ming-inspired style in underglaze-blue painting.

(US$230,000-320,000)