.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
The teadust glaze, admired for its distinctive olive-brown tone and finely variegated surface, ranks among the most successful monochrome wares produced at the Jingdezhen imperial kilns and reflects the Qianlong Emperor's enduring interest in technical perfection and archaistic design.
The form of the present vase, with its shouldered body, appears to have been devised in the Xuande period (1426-1435), when it was produced at Jingdezhen in blue and white, with interlocking foliage and overlapping plantain leaves on the body, and a wave pattern and key-fret band on the neck. See, for example, a vase preserved in the Palace Museum, Beijing (accession no. xin-108014), illustrated in Gugong Bowuyuan cang Ming chu qinghua ci, vol. 1, Beijing, 2002, pl. 82. These Xuande vases were, in turn, copied in the Qianlong (1736-1795) period, when vessels of this form are well known in blue and white. For blue an white examples, see a vase preserved in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 240. For Qianlong teadust-glazed examples, compare a similar one from the Meiyintang collection, illustrated in Chinese Ceramics from the Meiyintang Collection, Vol.4, London, 2010, no.1815; and another in hu-form from the Baur Collection, illustrated in Chinese Ceramics in the Baur Collection, Vol.2, Geneva, 1999, pl.296.
The form of the present vase, with its shouldered body, appears to have been devised in the Xuande period (1426-1435), when it was produced at Jingdezhen in blue and white, with interlocking foliage and overlapping plantain leaves on the body, and a wave pattern and key-fret band on the neck. See, for example, a vase preserved in the Palace Museum, Beijing (accession no. xin-108014), illustrated in Gugong Bowuyuan cang Ming chu qinghua ci, vol. 1, Beijing, 2002, pl. 82. These Xuande vases were, in turn, copied in the Qianlong (1736-1795) period, when vessels of this form are well known in blue and white. For blue an white examples, see a vase preserved in the Nanjing Museum, illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 240. For Qianlong teadust-glazed examples, compare a similar one from the Meiyintang collection, illustrated in Chinese Ceramics from the Meiyintang Collection, Vol.4, London, 2010, no.1815; and another in hu-form from the Baur Collection, illustrated in Chinese Ceramics in the Baur Collection, Vol.2, Geneva, 1999, pl.296.