A VERY RARE LARGE CARVED CELADON VASE, TIANQIUPING SEAL MARK AND PERIOD OF QIANLONG

well potted with globular sides rising to a tall slightly flared neck, carved with two wide bands of highly stylised dissolved taotie masks, their bulging circular eyes set on each side of the simulated flanges comprising the nasal element of the zoomorphic mask, separated by a border with stylised dragon motifs poised in confrontation, the lower neck with a band of upright cicada blades above a further archaistic border at the shoulder, with a further band of archaistic taotie masks below the mouthrim, covered overall in a translucent glossy glaze of a soft celadon tone, inscribed to the base with the six-character seal mark

There is a hairline crack to the shoulder, which does not go through the body. It runs across horizontally approx 46cm - some parts of the hairline are only visible under torchlight. There is a tiny glaze flake of approx 0.1 by 0.1cm resulting from a burst air bubble to the band under the rim. Otherwise the vase is in very good condition overall. The celadon glaze is particularly attractive and glossy. The actual glaze color is very close to the color of the piece on p. 49 in the catalogue.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present vase is a fine example of the very high quality monochrome wares produced in the Imperial kilns at Jingdezhen during Qianlong's reign. It reflects the Qialong Emperor's fondness for archaic forms and designs. The carving is exceptionally deep on this piece with the overall design giving the impression that many shades of the same colour have been used. For the inspiration of this vase see a slightly smaller Yongzheng celadon vase of this form and decoration illustrated in Sekai toji zenshu, vol. 12, Tokyo, 1956, fig. 47.

Qianlong vases are slightly bigger in proportions compared to the Yongzheng vases, with a more rounded body and longer neck. However, the carved decoration is closely copied and appears to be almost identical. See a Qianlong example illustrated in The Tsui Museum of Art - Chinese Ceramics IV, Hong Kong, 1995, pl. 35, and sold at Christie's Hong Kong, 30^th October 1995, lot 736A, and again, 27^th October 2003, lot 700.

Compare also a Qianlong vase of different shape but overall carved in the same technique with archaistic design illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 290.