A CELADON-GLAZED JAR SEAL MARK AND PERIOD OF YONGZHENG |

the tapering ovoid body rising to a wide waisted neck, encircled by a row of raised circular bosses just above the curved shoulder, covered overall in a celadon glaze of pale sea-green tone, the base inscribed with a six-character seal mark

Sotheby's Hong Kong, 19th November 1986, lot 254.

The body has a three-pronged star crack, with the longest prong measuring approx 1 cm. There are also minor frits/glaze pulls to the rim and general surface scratches. There are two faint brown stains to the base of the interior. The jar is otherwise in good 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."

This jar is remarkable for its luminous celadon glaze, the purity and depth of which is accentuated by its thinning and pooling over the raised studs and their recesses. Monochrome glazes were greatly expanded during the Yongzheng reign as a result of the technical and artistic advancements made at the imperial kilns in Jingdezhen. New glaze recipes were developed, and those that had been created in earlier periods were perfected. While a delicate, almost watery celadon glaze had already been created at the imperial kilns in the early 15th century, under Yongzheng several varieties of celadon glazes were experimented with. The Yongzheng Emperor appears to have been particularly fond of this subtle celadon glaze, and according to Palace documents, personally commissioned the imperial kilns to create wares covered in this glaze (Yang Boda, ‘Imperial Porcelain of the Qing Dynasty’, The Tsui Museum of Art, Hong Kong, 1991, p. 46). Jars of this form are relatively unusual; one in the Nanjing Museum, is illustrated in Xu Huping ed., Treasures in the Royalty. The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl. 190; another in the Baur Foundation, Geneva, is illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. II, Geneva, 1999, pl. 282; a third was sold in these rooms, 28th November 1978, lot 180; and a further example was sold at Christie’s Hong Kong, 31st October 2000, lot 877.

See also a flambé-glazed vase, with similar raised studs on the shoulder, but with a taller neck and the reign mark incised on the base, from the Manno Art Museum, Osaka, sold at Christie’s London, 21st June 2001, lot 99.