A RARE GILT AND SILVER-DECORATED CELADON-GROUND VASE SEAL MARK AND PERIOD OF QIANLONG

of archaistic form, the lobed body rising from a splayed foot to a waisted neck and an everted mouth, the neck flanked by a pair of gilt elephant handles, covered overall in an attractive light celadon glaze, the body intricately decorated over the celadon glaze in gold and silver with archaistic scrolling designs and florets between two bands of stylised ruyi lappets, the neck similarly picked out with scrolling designs above a ruyi band, all below stylised pendent lappets, the foot bordered with a further band of pendent trefoil motifs, the countersunk base inscribed in underglaze blue with a six-character seal mark

The Omer Blot (1824-94) collection, and thence by descent.
Christie's London, 13th May 2008, lot 61.

"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 exquisite vase is rare for its elegant design and is an exceptional example of the craftsman’s creative virtuosity in creating new designs to cater to the Qianlong emperor’s taste for the exotic and antique. It successfully references both China’s prominent bronze tradition and the opulent Rococo trend that was sweeping Europe and illustrates Qianlong’s patronage of the arts that buttressed the belief that the universe was centred around China.

China’s illustrious Bronze Age is referenced through the archaistic handles and gold and silver painted design. Gold and silver inlay was developed during the Eastern Zhou period (771-221 BC), in order that the colour of bronze vessels might match the brilliance of painted lacquer and colourful textiles and at a time personal display had become an important status marker. Due to the laborious and difficult inlay process, such items were generally small in size. Gilt-decorated porcelain is known from as early as the Yuan Dynasty (1271-1368) on white wares; for example see a stemcup in the Shanghai Museum, illustrated in Jessica Harrison Hall, Ming Ceramics in the British Museum, London, 2001, p. 54, pl. 3. However, it was only during the Qing Dynasty that the decorative potential of gilt-painted wares was fully exploited as a result of the introduction of European designs to the court by Jesuit missionaries working at the Qing court.

The linear design of the present vase appears to have been influenced by European architecture with long curling lines reminiscent of tall Ionic and Corinthian columns. The decoration also echoes carved wall panelling which incorporated the hallmark ‘c’ and ‘s’ shapes of the Rococo style which perfectly match the auspicious ruyi collar. This architectural style complements the subtly lobed form of the vase which gently transforms from a round neck to a lobed body and faceted foot.

Larger celadon-glazed vases embellished with a somewhat heavier use of gilt include one of comparable baluster form, decorated with gilt-painted shou characters, in the National Palace Museum, Taipei, included in the Museum’s exhibition Good Fortune, Long Life, Health and Peace. A Special Exhibition of Porcelains with Auspicious Designs, Taipei, 1995, cat. no. 25. See also two gilt-decorated wall vases on a celadon ground with a panel of inscription, one in the Nanjing Museum, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 314; and the other included in the exhibition Chinese Porcelain. The S.C. Ko Tianminlou Collection, vol. 2, Hong Kong Museum of Art, Hong Kong, 1987, cat. no. 116.

The remarkably well-preserved gilding of this vase is particularly notable and may be a result of its miniature size. The Qianlong Emperor was an enthusiastic collector of curios and miniature artefacts that were either contained in specially crafted treasure boxes or kept in display cabinets. These were stored in the private quarters of the Inner Palace in the Forbidden City, where the emperor and his family members were able to take pleasure in them at their leisure. See a miniature blue-ground mallet-form vase, gilt and silver decorated with a flower scroll, in the National Palace Museum, Taipei, included in the Museum’s exhibition Stunning Decorative Porcelains from the Ch’ien-lung Reign, Taipei, 2008, cat. no. 26.