清雍正 / 乾隆 御製青金石雕靈芝紋三足花口洗

of oval form, the slightly flared sides rising from a tripod base to a foliate rim, finely carved in low relief on the exterior with a stalk of lingzhi issuing two meandering main branches bearing large fungus heads, further wreathed by long curling leaves and a bat flying among the branches, the deep purplish-blue stone speckled with golden flakes, with a patch of pale beige inclusion on the underside, all supported on three small tapered posts cleverly utilising the change in colour in the stone, the interior left plain with concentric streaks of gold

John Sparks Ltd.，倫敦，1961年
The Hon. Mrs. Mary Anna Marten OBE 收藏，英國多塞特

The inner mouthrim has an area of refill of approx. 0.5 by 1 cm. There are some typical small nicks to the extremities, some of them slightly polished. The interior has some expected surface scratches. There is also a vein along the width of the base. Areas have been enhanced with bllue pigment. It is an even stronger purplish-blue 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."

Traditionally symbolic of purity and rarity, lapis lazuli appears to have been named qing yin shi (blue gold stone) during the Qing dynasty. The aura of mystery that surrounded this stone may have been due to the virtually inaccessible location of its principle mines in the remote Badakshan region of northeast Afghanistan behind the Hindu Kush. According to Ming Wilson in ‘The Colour of Stones’, Transactions of the Oriental Ceramic Society, vol. 62, 1997-98, p. 34, there are no known records identifying this stone before the Qing period although beads attributed to the Western Han period have been excavated. Its natural smoothness allowed it to be polished to a high degree which highlighted the brilliance of its blue colour and contrasting natural inclusions. Carvings fashioned from lapis lazuli are comparatively uncommon and were reserved for the imperial court.

This vessel is notable for its unusual form and decoration. The tripod form is loosely based on the archaic bronze censer, li, while the scrolling lingzhi design is reminiscent of scrolling flower motifs that adorned blue and white ceramics from the early Ming period. Thus the resulting washer embodies both a sense of familiarity in its traditions while being innovative; elements appreciated by the scholar whose table this would have adorned. Further lapis lazuli vessels include a three-piece garniture, illustrated in Zhongguo yuqi quanji [Complete collection of Chinese jades], vol. 6, Beijing, 1991, pl. 95; an archaistic censer in the Palace Museum, Beijing, published in Chinese Jade Throughout the Ages. Qing Dynasty, vol. 12, Hong Kong, 1997, pl. 100.