A LONGQUAN CELADON ‘FRUIT AND FLOWERS’ MEIPING YUAN DYNASTY

robustly potted with an ovoid body rising to elegantly curved shoulders and a short straight neck, the body divided into six vertical registers, each register framing a different leafy flowering branch, including chrysanthemum, hibiscus, peony, save for one with a loquat sprig, all between two stylised bands of pendent and upright stylised lappets encircling the shoulders and base respectively, all beneath an even unctuous celadon glaze

An old Japanese collection, probably Edo period (1603-1868, box).
Todaiji Temple, Nara.

The overall condition is very good, with the exception of typical glaze pull especially to the bottom. There is an underglaze dent to the body of the footring. The base also has some kiln grits. The catalogue illustration is slightly too yellowish.
"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."

This vase, with its exuberant fruit and flower design and its distinct profile, is a characteristic product of the Yuan dynasty. Longquan celadon ware of the Yuan period saw a marked increase of decoration compared with the plain wares of the previous Song dynasty. Applied decoration and deeply-carved designs became popular to create a sense of three-dimensionality and complexity of the surface. Although Yuan vases of various forms carved with cartouches of fruit and flower sprays are common, it is unusual to find this design bordered by lappets. Furthermore, the lappets on the present vase are distinctive for their ornate details: those encircling the foot are reminiscent of ornaments on furniture while those on the shoulder resemble stylised lotus lappets occasionally found on Yuan blue and white vases. A related lappet border is seen on the foot of a large guan jar with cover, carved with related fruit and flower panels, sold at Christie’s London, 29th November 1973, lot 1.

The swelling form of the present vase accentuates the dramatic effect of the darker pools of glaze in the carved recesses of the body that contrast with the light-green raised surfaces. Meiping vases similarly decorated with cartouches between borders include one carved with scenes of peacocks amongst flowers, bordered by a flower scroll and ruyi band at the shoulder and foot, included in the Oriental Ceramic Society exhibition Celadon Wares, London, 1947, cat. no. 164, and sold in our London rooms, 12th July 1960, lot 151; another, moulded and carved with panels of fruits and flowers between a lozenge thread pattern at the neck and petals at the foot and flanked with mask handles, from the Lindberg collection, sold in our London rooms, 12th December 1978, lot 181; and a hexagonal meiping carved with fruit and flowers between flower sprays and stiff leaves, from the Kanagawa Prefectural Museum, illustrated in Mayuyama. Seventy Years, vol. 1, Tokyo, 1976, pl. 510.

The bold style of carving is comparable to ovoid vases with a wide everted rim and decorated with fruiting and flowering sprays within rectangular cartouches, such as one in the Palace Museum, Beijing, illustrated in Yuandai ciqi, Beijing, 1998, pl. 446; and another, from the H.M. Knight collection, sold in our London rooms, 12th May 1970, lot 37.