A LARGE CELADON-GLAZED CARVED 'CHILONG' VASE QING DYNASTY, KANGXI PERIOD |

sturdily potted with a baluster body surmounted by a tall trumpet neck flaring at the rim, the neck crisply carved with two chilong writhing sinuously amidst undulating scrolls issuing curling leaves and lingzhi blooms, the body similarly decorated with six further chilong striding through curling lingzhi foliage meandering across the vessel, all beneath a celadon glaze pooling to a deeper tone at the recesses, the white base inscribed in underglaze blue with an apocryphal six-character Chenghua mark within a double circle

Sotheby's Hong Kong, 22nd May 1984, lot 190.

There is fritting to the mouthrim, including a couple of flakes of approx. 0.5 and 0.8 cm. The vase slightly leans to one side.
"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."

In form and glaze, this vase pays homage to Longquan celadon wares of the early Ming dynasty (1368-1644), for which vigorously carved designs on large forms were characteristic. From the 15th century, the growing popularity of the blue and white porcelains from Jingdezhen and the deterioration of the quality of Longquan wares saw the kilns cease to produce wares for the court from the late 15th century. When the Kangxi Emperor (r. 1662-1722) revived the imperial manufactories at Jingdezhen, celadon wares became one of their core products. Celadons under his reign are characterised by a clear translucent colour that was particularly effective when applied over carved decoration or raised ribs. An ovoid vase of this type and carved in a similar style, from the Captain Charles Oswald Liddell, Robert C. Bruce, Norman Railing, Anthony Du Boulay and Meiyintang collections, is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 4, pt. II, London, 2010, pl. 1817. The chilong and lingzhi scroll design is found on a number of vases of different forms covered in various shades of celadon glaze, all attributed to the Kangxi period; one in the Shanghai Museum, Shanghai, is published in Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, pl. 222; another from the Sir Percival David Collection, now in the British Museum, London, is published in Illustrated Catalogue of Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, no. B 568, and illustrated pl. XIV (bottom left); a pair of vases, from the Alfred Morrison Collection and Fonthill Heirlooms, was sold at Christie’s London, 9th November 2004, lot 7; and one was sold in our London rooms, 12th June 2003, lot 171.