QIANLONG PERIOD (1736-1795)

The current lot is in the form of two conjoined vases, and can be separated into sections at the shoulder and lower body. Its form is inspired by Neolithic pottery prototype and gained popularity during the Qing dynasty as a ‘double-happiness vase’ or ‘double-fish vase’, symbolising harmony, love, and marital bliss through its paired fish-like silhouette. The decorative motifs are a combination of archaistic designs such as cicadas, kui dragon and phoenix, and spirals, and classic Qing motifs like ruyi head and shou-character roundels. This synthesis of forms, motifs, and exquisite craftsmanship is typical of the Qing court style which aims to emphasise its legitimacy through archaism.

Compare to two carved cinnabar lacquer three-tiered vases and covers in the form of archaic bronze hu from Qing dynasty, decorated with similar motifs, illustrated in The Complete Collection of Treasures of the Palace Museum, Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pp. 80-81, no. 55 and 56 (fig. 1 and 2)