清雍正 仿哥釉嵌西洋鎏金漢壺尊 《大清雍正年製》款

the monumental vessel of archaistic hu-form robustly potted with a pear-shaped body on a splayed foot, covered overall with a thick blue-grey glaze suffused with dark brown crackles, each side moulded with four large slightly inset ogival panels forming strapwork divided by raised pyramid-form bosses, the neck collared with a raised horizontal band and set with seraphim suspending ribbons with tasselled ends draped around the vase, dressed with an overhanging rim detailed with petals around the mouth and the foot mounted on a raised stand cast with foliate elements, inscribed on the base with a six-character seal mark, the Louis XV-style ormolu mounts elaborately cast and brilliantly gilded

香港佳士得1992年3月31日，編號576
香港蘇富比1996年11月5/6日，編號852

As typical of ormolu mounted porcelain, the vase has six symmetrical drill holes to the interior, where the ormolus are attached with screws. It is possible that the vase originally had lug handles, which were typically removed to place the mounts, which can be dated to c.1860 (additional photos available upon request). As visible in the second photo, which shows the mouth of the vase without the mounts, there is a small area of rubbing to the glaze, but this removable mount has not left any impact. The mount to the base, which have not been removed, also appear not to have left any impact. There is an accumulation of adhesive to the interior and foot. The colour of the glaze in reality is slightly brighter and more even than in the catalogue photo.
"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 magnificent porcelain vase, precisely covered in a ge-type glaze, is notable for its large size and restrained elegance which are complemented by the sumptuous mounts. The production of this vase demanded considerable expertise, from potting a perfectly symmetrical vessel of immense proportions to firing the glaze at the exact temperature to ensure an even, flawless glaze. Yongzheng mark and period vases of this size are rare, although a baluster vase of similarly large proportions and glaze, but of quatrefoil section, also set in an elaborate gilt-bronze mount signed Henry Dasson and dated 1876, was sold at Christie’s London, 15th November 2000, lot 60. The Christie’s vase mounts are also cast in the style of Louis XV, which was popular in France during the 19th century.

From the first year of his reign, the Yongzheng Emperor commissioned porcelain wares that were simple in form and generally left undecorated to highlight shape and glaze over decoration. This became the stylistic trend throughout his rule at the imperial kilns at Jingdezhen, where Tang Ying (1682-1756) acted as Superintendent. Under Tang, research into the celebrated Song imperial glazes, such as Guan, Ge, Ru and Jun wares, saw the emergence of monochrome porcelain covered in luminous pale glazes simulating Song examples on Song-inspired and innovative forms.

Yongzheng vases of this form are more commonly known in smaller size and with handles; see one with loop handles illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl. 195; and another, but with animal head terminals on the loop handles, sold in our New York rooms, lot 201. Vases of related form were also produced in other antiquity-inspired glazes; see one with ru-type glaze, sold in these rooms, 25th April 2004, lot 261; and another illustrated in The Tsui Museum of Art. Chinese Ceramics. Qing Dynasty, vol. IV, Hong Kong, 1995, pl. 21; and a teadust-glazed example, with animal-head handles, in the Palace Museum, Beijing, published in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 298, pl. 127.

The form of this vase originates from Western Zhou archaic bronze hu, which further reflects the emperor’s deep and abiding respect and appreciation for the past and its preservation into the present. For a bronze prototype with similar banding but with loop handles, compare one sold in our London rooms, 9th December 1975, lot 7; and another with elaborate animal handles, excavated in Shandong province, illustrated in Wenwu, 1972, no. 5, pl. 6, fig. 2.