.jpg?w=1)
Lot Essay
This vase is particularly interesting not only for its beauty but for the way in which it combines features associated with both the Kangxi and Yongzheng reigns, suggesting a date sometime in the 1720s. The enamels themselves, particularly the blue enamel are characteristic of the late Kangxi reign, as is the scholarly painting of the bamboo on the neck of the vase. Both the blue enamel and the painting of the bamboo are reminiscent of those, on interior and exterior respectively, of the famous famille noire dish in the Percival David collection (illustrated by R. Scott in Elegant Form and Harmonious Decoration - Four Dynasties of Jingdezhen Porcelain, London and Singapore, 1992, p.118, no. 128). Sprays of ink-like bamboo can also be seen on the neck of the famous Zhong Kui rouleau vase in the collection of the Shanghai Museum (illustrated in Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, pp. 200-1, no. 129).
On the other hand, the choice of motifs and the disposition of the decorative elements suggest a closer affinity to porcelains of the Yongzheng reign. The theme of golden pheasant and peonies is perhaps best known on the exquisite Yongzheng falangcai bowls in the Palace Museum, Beijing, (illustrated in Complete Collection of Treasures of the Palace Museum 39 Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 14, no. 11), and in the National Palace Museum, Taipei (illustrated in Special Exhibition of Ch'ing Dynasty Enamelled Porcelains of the Imperial Ateliers, Taipei, 1992, pp. 90-1, no. 34). The pheasants rocks and peonies can also be seen on a Yongzheng vase in the collection of Sir Percival David (illustrated by R. Scott in For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, New York and Singapore, 1998, p. 92, no. 29). In each case a male golden pheasant with gloriously vibrant plumage stands on a rock above a much smaller bird of muted colour. Together the pheasant and quail suggest 'peace and good order', since the word for quail is a homophone fore the word for peace, while the word for pheasant is a homophone for a word meaning order.
Further auspicious rebuses are depicted on the current vase. The rocks on which the pheasant stands are symbols of longevity. The flowers have also been chosen not only for their attractiveness, but also because of what they symbolize. The combination of white magnolia, crab apple and peony is particularly auspicious. Together these three flowers suggest the wish 'May your noble house be blessed with wealth and honour'. The beautifully painted daylilies on the back of the vase combine with the rocks beside them to form a phrase suggesting either 'May the daylily and rock extend your years' or 'May you have sons and live long'. Like rocks, daylilies symbolize longevity, but they also represent sons since one of the names for the daylily is 'boy-favouring herb'. The ink-style bamboo on the neck of the vase, while suggestive of scholarly pursuits, also symbolizes integrity.
This rare vase is thus, not only visually pleasing and interesting for its place in the development in porcelain styles in the 1720s, it also displays a wealth of auspicious wishes.
On the other hand, the choice of motifs and the disposition of the decorative elements suggest a closer affinity to porcelains of the Yongzheng reign. The theme of golden pheasant and peonies is perhaps best known on the exquisite Yongzheng falangcai bowls in the Palace Museum, Beijing, (illustrated in Complete Collection of Treasures of the Palace Museum 39 Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p. 14, no. 11), and in the National Palace Museum, Taipei (illustrated in Special Exhibition of Ch'ing Dynasty Enamelled Porcelains of the Imperial Ateliers, Taipei, 1992, pp. 90-1, no. 34). The pheasants rocks and peonies can also be seen on a Yongzheng vase in the collection of Sir Percival David (illustrated by R. Scott in For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, New York and Singapore, 1998, p. 92, no. 29). In each case a male golden pheasant with gloriously vibrant plumage stands on a rock above a much smaller bird of muted colour. Together the pheasant and quail suggest 'peace and good order', since the word for quail is a homophone fore the word for peace, while the word for pheasant is a homophone for a word meaning order.
Further auspicious rebuses are depicted on the current vase. The rocks on which the pheasant stands are symbols of longevity. The flowers have also been chosen not only for their attractiveness, but also because of what they symbolize. The combination of white magnolia, crab apple and peony is particularly auspicious. Together these three flowers suggest the wish 'May your noble house be blessed with wealth and honour'. The beautifully painted daylilies on the back of the vase combine with the rocks beside them to form a phrase suggesting either 'May the daylily and rock extend your years' or 'May you have sons and live long'. Like rocks, daylilies symbolize longevity, but they also represent sons since one of the names for the daylily is 'boy-favouring herb'. The ink-style bamboo on the neck of the vase, while suggestive of scholarly pursuits, also symbolizes integrity.
This rare vase is thus, not only visually pleasing and interesting for its place in the development in porcelain styles in the 1720s, it also displays a wealth of auspicious wishes.