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Lot Essay
This shape of the current vase is based on an early Ming dynasty blue and white flask decorated in Islamic style and with flat, unglazed back with a countersunk medallion in the centre. See an example in the Freer Gallery of Art, Washington, D.C., illustrated in Oriental Ceramics, The World’s Great Collections, vol. 9, Tokyo, 1981, no. 94.
It is rare to find a Yongzheng-marked vase of this form and size covered in a monochrome glaze. Compare with an example housed in the National Palace Museum, Taipei, accession number: 000266N000000000(fig. 1); and a flambé-glazed example with differently shaped handles illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. II, London, 1994, p. 187, no. 835, and sold at Sotheby's Hong Kong, 3 April 2012, lot 9; a smaller one bearing a Qianlong mark, sold at Christie’s Hong Kong, 28 November 2006, lot 1305 (fig. 2).
Vases of this form are more commonly decorated in blue and white. See an example bearing a Yongzheng mark included in the exhibition, Beauty and the Selfless Mind, and illustrated in the 15th Anniversary Catalogue, The Idemitsu Museum of Arts, Tokyo, 1981, p. 218, no. 964.
It is rare to find a Yongzheng-marked vase of this form and size covered in a monochrome glaze. Compare with an example housed in the National Palace Museum, Taipei, accession number: 000266N000000000(fig. 1); and a flambé-glazed example with differently shaped handles illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. II, London, 1994, p. 187, no. 835, and sold at Sotheby's Hong Kong, 3 April 2012, lot 9; a smaller one bearing a Qianlong mark, sold at Christie’s Hong Kong, 28 November 2006, lot 1305 (fig. 2).
Vases of this form are more commonly decorated in blue and white. See an example bearing a Yongzheng mark included in the exhibition, Beauty and the Selfless Mind, and illustrated in the 15th Anniversary Catalogue, The Idemitsu Museum of Arts, Tokyo, 1981, p. 218, no. 964.