清十八世紀 白玉痕都斯坦式蓮花橢圓蓋爐

elaborately worked with slightly rounded tapering sides rising from a short splayed foot to broad rounded shoulders surmounted by a short straight neck, the shoulders flanked by a pair of openwork handles carved in the form of a lotus bloom borne on meandering foliate scrolls issuing floral buds, the countersunk base centred in low relief with a stylised floral blossom, below low-relief petal lappets bordering the lower body, the well-fitted cover exquisitely worked in low relief with striated petals surmounted by a finial worked in the form of a lotus blossom, the stone of an even pale celadon-white colour, wood stand

蔡氏家族收藏，國泰美術館收藏

The censer and cover are in good condition except for occasional typical minute nicks to the fragile extremities, including the petal tips of the final and one petal tip of the handle measuring approx. 0.2 cm. There are also expected insignificant nicks and signs of surface wear to the rims of the censer and cover.
"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 censer and cover are carved from an exceptional jade boulder, as evident in the evenness of tone which is accentuated by the skillfully finished surface and finely carved handles. Jade wares carved in this florid style, which originated in Hindustan in the Mughal period, were first introduced to China around the middle of the Qianlong Emperor’s reign, who quickly grew fond of them. The first carved jade to be sent from Central Asia to the Qing Court as a tribute was recorded in 1756 and pieces continued to arrive at court throughout his reign and thereafter. Concurrently, jade carvers from India were brought to the Palace Workshops to fashion similar wares, and as early as 1764, exact copies of the Indian jades held at the Palace were reproduced by Chinese craftsmen working at court.

The present piece is a fine example of such jade wares. While the globular form and openwork floral knop are characteristic of Mughal jade, the modelling of the handles and thicker walls are telling traits of Chinese jade carvings. For the archetype of this piece see a Mughal green jade jar and cover of similar globular form and short neck, in the National Palace Museum, Taipei, included in the Museum’s exhibition Exquisite Beauty. Islamic Jades, Taipei, 2012, cat. no. 197, together with a white jade example but lacking the cover, cat. no. 103.

Jade censers of this form are rare although one of similar form, but with the body carved with a flower scroll, from the Whitaker family collection, was sold at Christie’s London, 5th/6th July 1983, lot 546.  Compare also a jar sold in our New York rooms, 18th March 2008, lot 14.