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Lot Essay
The form of the present vase is based on the archaic bronze zun form of the Shang and Western Zhou periods such as the example from the Sackler Collections, illustrated by R. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Cambridge, Massachusetts, 1987, pp. 292-293, no. 49. While the lobed form evoking the shape of a flower and elephant handles are entirely Qing interpretations, the slightly raised lines seperating the lobes are probably simulating the flanges found on the early bronze forms. The liberal mixing of archaistic motifs and contemporary auspicious motifs is characteristic of this period.
As explained by T. Bartholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, the elephant, and the word for 'sign' xiang, share the same character and pronunciation while the vase, ping stands for 'peace', ping'an', in combination meaning 'Sign of peace' of 'peaceful times' (taiping youxiang).
A number of similar jade vases of similar form are known, each of a different colour and size. As well as the present vase, the closest example is a larger vase with elephant handles using very similar but slightly lighter bluish-green material was sold at Sotheby's Hong Kong, Water, Pine and Stone Retreat Collection - Qianlong, 8 October 2009, lot 1827. A white jade example with mythical beast head handles in the Palace Museum Collection, Beijing, is illustrated in Zhongguo Yuqi Quanji, Jade, Vol. 6, Qing Dynasty, Beijing, 1991, p. 102, pl. 154; a spinach-green jade example, also in the Palace Museum Collection, Beijing, of more elongated gu form is illustrated ibid., p. 99, no. 149; and another white jade example from the collection of the Countess of Halifax was sold at Christie's London, 13th February 1978, lot 125. Finally, compare a white jade zhadou of similar form from the estate of Antoinette H. Van Slyke, sold at Sotheby's New York, 18 April 1989, lot 213.
The colouring of the nephrite used for this vase is much rarer than the flecked darker spinach-green jade material commonly used during the 18th century and this tone was clearly favoured by the Emperor. A bowl marked for the Qianlong Emperor's personal carved from similar material, was sold at Sotheby's Hong Kong, Water, Pine and Stone Retreat Collection - Qianlong, 8 October 2009, lot 1816.
As explained by T. Bartholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, the elephant, and the word for 'sign' xiang, share the same character and pronunciation while the vase, ping stands for 'peace', ping'an', in combination meaning 'Sign of peace' of 'peaceful times' (taiping youxiang).
A number of similar jade vases of similar form are known, each of a different colour and size. As well as the present vase, the closest example is a larger vase with elephant handles using very similar but slightly lighter bluish-green material was sold at Sotheby's Hong Kong, Water, Pine and Stone Retreat Collection - Qianlong, 8 October 2009, lot 1827. A white jade example with mythical beast head handles in the Palace Museum Collection, Beijing, is illustrated in Zhongguo Yuqi Quanji, Jade, Vol. 6, Qing Dynasty, Beijing, 1991, p. 102, pl. 154; a spinach-green jade example, also in the Palace Museum Collection, Beijing, of more elongated gu form is illustrated ibid., p. 99, no. 149; and another white jade example from the collection of the Countess of Halifax was sold at Christie's London, 13th February 1978, lot 125. Finally, compare a white jade zhadou of similar form from the estate of Antoinette H. Van Slyke, sold at Sotheby's New York, 18 April 1989, lot 213.
The colouring of the nephrite used for this vase is much rarer than the flecked darker spinach-green jade material commonly used during the 18th century and this tone was clearly favoured by the Emperor. A bowl marked for the Qianlong Emperor's personal carved from similar material, was sold at Sotheby's Hong Kong, Water, Pine and Stone Retreat Collection - Qianlong, 8 October 2009, lot 1816.