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Lot Essay
The present vase is exceptionally rare, with the only other published example of identical size, shape, and design preserved in the National Palace Museum, Taipei, collection no.: zongxi000434N (fig. 1), and illustrated in Porcelain of the National Palace Museum: Blue-and-White Ware of the Ch'ing Dynasty, vol. 2, Hong Kong, 1968, pp. 40-41, pl. 10. A close comparison of every detail suggests the two were possibly originally a pair. Beyond their immediately apparent similarity, they share specific features, including an unusual band of uneven blue wash at the neck-shoulder junction and a sketchily drawn line around the foot. Furthermore, the masterful rendition of lively dragons amidst intricate lingzhi scrolls on both vases appears to be by the same hand. The vase's exceptional quality in its refined potting, masterful painting, and use of the finest cobalt blue- coupled with the incorporation of the sacred number nine in its design, strongly indicate it was reserved for emperor. The prominent lingzhi motif, a symbol of longevity, further suggests the vase may have been created to commemorate an imperial birthday.
The form of the mouth of this vase is particularly attractive and skilfully executed - complementing the overall shape and decoration of the vase and providing additional symbolism. Turned-down ruyi mouths of this type are rare on porcelain vessels, as they would have been difficult to make and fire successfully. The rare turned-down mouths seen on Ming and Qing dynasty porcelains may ultimately derive from the vases with lobed turned-down mouths made in the 12th and 13th centuries. These latter vases were made at the Jun kilns and the Cizhou kilns, as well as being found amongst qingbai porcelains from the Jingdezhen kilns (see R. Kerr, Song Ceramics, London, 2004, p. 32, no. 22; T. Mikami, Sekai Toji Zenshu 13 Liao Jin Yuan, Tokyo, 1981, pp. 110-11, no. 92; and S. Pierson (ed.), Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties, London, 2002, pp. 136-7, no. 71).
The first appearance of turned-down mouths on Ming dynasty porcelains from the Jingdezhen kilns appears to be in the Xuande reign, on vases such as the blue and white vessel illustrated in Catalogue of the Special Exhibition of Hsuan-te Imperial Porcelains of the Ming Dynasty, Taipei, 1998, pp. 80-1, no. 13 (fig. 2), which is also decorated with lingzhi sprays. However, the distinctive lappet-shape of the down-turned mouth on vessels such as the current vase appears to be a Qianlong period innovation. A related turned-down mouth featuring ruyi-head can be seen on the pair of blue and white Qianlong vases sold at Christie’s London, 11 May 2010, lot 217. For related famille rose examples, Palace Museum, Beijing, has a vase that is strikingly similar in shape with the current vase, although with somewhat more attenuated proportions, see Views of Antiquity in the Qing Imperial Palace: special exhibition to celebrate the 80th anniversary of the establishment of the Palace Museum, 2006, pp. 164-165, no. 52 (fig. 3). Similarly shaped mouth rims can also be seen on a celadon-glazed gu-shaped vase, illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 461, no. 143. The shape of the mouth of the vase was rarely attempted by potters, almost certainly because of the difficulties in firing such a form, and the beautifully painted lingzhi on each lappet of the mouth appear to be unique to this vase and the one in the National Palace Museum.
The deep, intense cobalt blue and refined painting style of the present vase are reminiscent of Ming-style pieces from the Yongzheng period, suggesting an early Qianlong date for this vase. The depiction of spotted dragons may also be derived from Yongzheng prototypes, as seen on a pair of doucai mallet-shaped vases in the Tianjin Municipal Museum, see Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, pl. 161, where the chi dragons are also depicted holding lingzhi sprays. Moreover, the proliferation of lingzhi fungi on this vase and its companion in the National Palace Museum, Taipei, is exceptional, with each fungus rendered with great care and attention to detail.
The form of the mouth of this vase is particularly attractive and skilfully executed - complementing the overall shape and decoration of the vase and providing additional symbolism. Turned-down ruyi mouths of this type are rare on porcelain vessels, as they would have been difficult to make and fire successfully. The rare turned-down mouths seen on Ming and Qing dynasty porcelains may ultimately derive from the vases with lobed turned-down mouths made in the 12th and 13th centuries. These latter vases were made at the Jun kilns and the Cizhou kilns, as well as being found amongst qingbai porcelains from the Jingdezhen kilns (see R. Kerr, Song Ceramics, London, 2004, p. 32, no. 22; T. Mikami, Sekai Toji Zenshu 13 Liao Jin Yuan, Tokyo, 1981, pp. 110-11, no. 92; and S. Pierson (ed.), Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties, London, 2002, pp. 136-7, no. 71).
The first appearance of turned-down mouths on Ming dynasty porcelains from the Jingdezhen kilns appears to be in the Xuande reign, on vases such as the blue and white vessel illustrated in Catalogue of the Special Exhibition of Hsuan-te Imperial Porcelains of the Ming Dynasty, Taipei, 1998, pp. 80-1, no. 13 (fig. 2), which is also decorated with lingzhi sprays. However, the distinctive lappet-shape of the down-turned mouth on vessels such as the current vase appears to be a Qianlong period innovation. A related turned-down mouth featuring ruyi-head can be seen on the pair of blue and white Qianlong vases sold at Christie’s London, 11 May 2010, lot 217. For related famille rose examples, Palace Museum, Beijing, has a vase that is strikingly similar in shape with the current vase, although with somewhat more attenuated proportions, see Views of Antiquity in the Qing Imperial Palace: special exhibition to celebrate the 80th anniversary of the establishment of the Palace Museum, 2006, pp. 164-165, no. 52 (fig. 3). Similarly shaped mouth rims can also be seen on a celadon-glazed gu-shaped vase, illustrated in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 461, no. 143. The shape of the mouth of the vase was rarely attempted by potters, almost certainly because of the difficulties in firing such a form, and the beautifully painted lingzhi on each lappet of the mouth appear to be unique to this vase and the one in the National Palace Museum.
The deep, intense cobalt blue and refined painting style of the present vase are reminiscent of Ming-style pieces from the Yongzheng period, suggesting an early Qianlong date for this vase. The depiction of spotted dragons may also be derived from Yongzheng prototypes, as seen on a pair of doucai mallet-shaped vases in the Tianjin Municipal Museum, see Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, pl. 161, where the chi dragons are also depicted holding lingzhi sprays. Moreover, the proliferation of lingzhi fungi on this vase and its companion in the National Palace Museum, Taipei, is exceptional, with each fungus rendered with great care and attention to detail.