YONGZHENG PERIOD (1723-1735)

Details

A VERY RARE ENAMELLED ‘LANDSCAPE’ MALLET-FORM VASE
YONGZHENG PERIOD (1723-1735)
The vase is delicately potted with a flat base and domed body rising to a tall cylindrical neck. The body is superbly decorated with an idyllic landscape with pavilions set against trees next to a river inhabited by figures on boats. The base is decorated in underglaze blue with a motif comprising a ruyi, brush and ingot.

A closely related vase of very similar decoration, size and form, also with a ruyi-brush-ingot motif on the base, dating to the Yongzheng period, was donated by the eminent connoisseur Sun Yingzhou (1893-1966) to the Palace Museum, Beijing, illustrated in Geng Baochang ed., Sun Yingzhou de taoci shijie, Beijing, 2003, no. 136 (fig. A). Another vase of the same size, form and with the same motif on the base, but decorated with flowers and butterflies on a celadon ground, is in the Palace Museum, Beijing, illustrated in Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, no. 78. The combination of ruyi, brush and ingot forms the rebus biding ruyi, ‘the fulfilment of wishes is granted’.
8 5⁄8 in. (22 cm.) high

Provenance

Sold at Sotheby’s Hong Kong, 25 April 2004, lot 47

Conditions of sale

Brought to you by

Marco Almeida (安偉達) SVP, Senior International Specialist, Head of Department & Head of Private Sales

malmeida@christies.com +852 2978 6735

Lot Essay

The very rare mallet-shaped vase is yet another piece inspired by a Yuan master, this time that of Ni Zan (fig. 4). The silky white background created by the fine porcelain body and soft glaze is a perfect backdrop for Ni’s pared-down style. In the early Yongzheng period under the supervision of Nian Xiyao and Tang Ying, the imperial kiln developed a new black enamel which made it possible to create ink-like painting on porcelain, even to the effect of shading and rendering as seen in the distant mountains. The subtle monochrome brushwork is accented with blue and green enamels which takes inspiration from Tang blue and green landscape paintings. The overall effect is that of restraint and archaism in a completely new style, and very much the taste of the Yongzheng emperor.

More from Important Chinese Ceramics and Works of Art

View All