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Lot Essay
The rectangular vessel is raised on four tall angular scroll feet emerging from the jaws of lions, the main faces carved in low relief with taotie motifs, the shorter sides of the rim with openwork handles enclosing ruyi-head motifs. The cover is surmounted by a pair of lions with finely incised manes, all in a striking icy sea-green tone.
Jadeite was known during the Ming dynasty but was not generally accepted as material for carvings until the latter part of the Qianlong reign in the late 18th century. During the late Qing period, with a brilliant spectrum of colours, gem-quality jadeite became synonymous with status and sophistication. Jadeite ornaments and vessels were frequently featured in Qing dynasty imperial portraits preserved in the Palace Museum.
The present vessel is closely comparable to a jadeite fangding from the Ernest and Helen Dane Collection, sold at Christie’s Hong Kong, 30 May 2012, lot 4275 (fig. 2). Another jadeite censer of this archaistic form from the Jingguantang Collection, was sold at Christie’s Hong Kong, 3 November 1996, lot 602, and again at Sotheby’s Hong Kong, 8 April 2010, lot 1816 (fig. 3).
Compare also a few related jadeite examples carved in a globular form and supported on tripod feet. One from Yamanaka Shokai, sold at Christie’s Hong Kong, 31 May 2010, lot 2089 (fig. 4); one sold at Christie’s Hong Kong, 30 October 1995, lot 977; and one from the Cleveland Museum of Art Collection, sold at Sotheby’s Hong Kong, 30 October 1991, lot 381.
Additionally, compare a Late Qing archaistic jadeite censer in the collection of the Yiheyuan, its stand is comparable to the present one (fig. 5).
This censer was formerly in the collection of Baron Fujita, and the majority of his collection originated from the collection of Prince Kung. The finest pieces from Prince Kung were all selected first by Baron Fujita, with the remaining pieces later auctioned by Yamanaka & Co. The present censer is very likely the finest jade incense burner from Prince Kung's treasured collection.
Jadeite was known during the Ming dynasty but was not generally accepted as material for carvings until the latter part of the Qianlong reign in the late 18th century. During the late Qing period, with a brilliant spectrum of colours, gem-quality jadeite became synonymous with status and sophistication. Jadeite ornaments and vessels were frequently featured in Qing dynasty imperial portraits preserved in the Palace Museum.
The present vessel is closely comparable to a jadeite fangding from the Ernest and Helen Dane Collection, sold at Christie’s Hong Kong, 30 May 2012, lot 4275 (fig. 2). Another jadeite censer of this archaistic form from the Jingguantang Collection, was sold at Christie’s Hong Kong, 3 November 1996, lot 602, and again at Sotheby’s Hong Kong, 8 April 2010, lot 1816 (fig. 3).
Compare also a few related jadeite examples carved in a globular form and supported on tripod feet. One from Yamanaka Shokai, sold at Christie’s Hong Kong, 31 May 2010, lot 2089 (fig. 4); one sold at Christie’s Hong Kong, 30 October 1995, lot 977; and one from the Cleveland Museum of Art Collection, sold at Sotheby’s Hong Kong, 30 October 1991, lot 381.
Additionally, compare a Late Qing archaistic jadeite censer in the collection of the Yiheyuan, its stand is comparable to the present one (fig. 5).
This censer was formerly in the collection of Baron Fujita, and the majority of his collection originated from the collection of Prince Kung. The finest pieces from Prince Kung were all selected first by Baron Fujita, with the remaining pieces later auctioned by Yamanaka & Co. The present censer is very likely the finest jade incense burner from Prince Kung's treasured collection.