A SUPERB AND FINE FACETTED CELADON-GLAZED VASE SEAL MARK AND PERIOD OF QIANLONG

of hexagonal section, sturdily potted with a slightly tapered body elegantly sweeping up to a broad shoulder and surmounted by a waisted neck and flared rim, all supported on a smaller splayed foot of conforming section, the exterior covered overall save for the footring with a lustrous and translucent pale bluish-green glaze thinning to the edges, the base inscribed in underglaze blue with a six-character seal mark

A private Japanese collection.
Christie's Hong Kong, 28th November 2005, lot 1305.

The Nelson-Atkins Museum of Art, Kansas City, MO, on loan, 2013.

The vase is in excellent and fine condition.
"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 vase features a perfect luminous, even glaze and an innovative elegant, facetted form, and is extremely pleasing to the eye and outstandingly delectable to the touch. It was created by the imperial kilns of the Qianlong Emperor (r. 1736-95), the greatest collector and patron of the arts in Chinese history, most probably under the supervision of Tang Ying (1682-1756), China’s most able superintendent of the imperial porcelain manufactory. Featuring a magnificent celadon-green glaze of understated beauty, this vase is exceedingly rare amongst Qianlong imperial porcelains and no identical example appears to be recorded.

The celadon-coloured glazes of the Qing dynasty (1644-1911) were created in homage to the deeply admired celadon glazes of the Song dynasty (960-1279), and this vase is a superb example of Qing celadon wares. In concert with the glaze, the form of this vase also alludes to the Song period, evoking the various octagonal forms from the Song imperial kilns, although with remarkable modifications. For Song dynasty guan ware octagonal vases with comparable celadon glazes, from the imperial collection of the Qing court, which may have inspired Qianlong examples such as the present vase, see Catalogue of the Special Exhibition of Sung Dynasty Kuan Ware, National Palace Museum, Taipei, 1989, cat. nos. 15 and 18.

A comparable form already appears on celadon wares of the preceding Yongzheng period (1723-1735), but the Qianlong version has a slightly wider neck and lacks the lipped rim of the Yongzheng version, demonstrating the constant innovation of the Qianlong imperial kilns; compare a Yongzheng-marked celadon vase of related form sold in our London rooms, 16th June 1999, lot 808.

Although about a dozen vases of similar form are known from the Qianlong period, these are either covered with a Ru-type glaze that tends to be paler in colour, or a celadon glaze but with a carved relief design beneath. A Qianlong-marked vase of similar form with Ru-type glaze is published in the Illustrated Catalogue of Tokyo National Museum. Chinese Ceramics II, Tokyo, 1990, cat. no. 721; and another was sold twice in these rooms, 24th November, 1981, and 23rd October 2005, lot 321, and again in our New York rooms, 16th September 2009, lot 215.

Three Qianlong-marked celadon-glazed vases of similar form, with dragon-and-phoenix design in carved relief, were sold in these rooms, 8th April 2009, lot 1652, 2nd May 2000, lot 613, and 2nd November 1994, lot 114. Compare also a vase of similar form with celadon glaze and carved relief decoration, but in addition with two panels of landscapes in famille-rose enamels, sold in these rooms, 21st May 1980, lot 255, and now in the Hong Kong Museum of Art, included in the exhibition The Wonders of the Potter's Palette, Hong Kong Museum of Art, Hong Kong, 1984, cat. no. 69.

Compare also a vase of this form covered with a guan-type glaze, of Daoguang (1821-50) mark and period, in the National Palace Museum, Taipei, included in the Special Exhibition of Ch’ing Dynasty Monochrome Glaze Porcelain, Taipei, 1981, cat. no. 98; and another illustrated in the exhibition catalogue Imperial Porcelain of the Late Qing from the Kwan Collection, The Chinese University of Hong Kong, Hong Kong, 1983, cat. no. 85.