清乾隆 玉痕都斯坦式菊瓣紋大盌

finely carved with low rounded sides in the form of chrysanthemum petals outlined by columns of graduated relief carved acanthus leaves and centered by scrolled crests just below the mouth rim, the interior relief carved in tiers of radiating petals centered by a naturalistic cross-hatched center, the same blossom carved on the base with the largest tier of petals curled to form a low foot, the stone of a granular white with faint striations and russet inclusions

Gump's，舊金山，1980年

The bowl is in overall good condition, except for several stone fissures to the rim, the largest measuring approx. 4.5 cm, with a tiny associated flake. Some minute nicks to the edges, as can be expected. The actual color of the stone is slightly less celadon compared to the catalogue illustration.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Compare a closely related bowl of slightly smaller size and similar design and stone quality in the National Palace Museum collection, Taipei, illustrated in Teng Shu-ping, ed. Exquisite Beauty: Islamic Jades, Taipei, 2007, pl. 254. The present bowl, of Chinese craftsmanship, appears to have drawn from and blended design elements from the area then called 'Hindustan'. Once the popularity and market for Mughal jades had become apparent in the Qianlong period, Chinese artisans began copying and incorporating Mughal patterns into their own creations. Several of the Chinese forgeries with blended Chinese and Islamic motifs made their way into the Qing palace as tribute from the Mughal empire, creating confusion in the court. The Qianlong emperor assumed they were legitimate Mughal creations and accused the foreign artisans of 'stealing Chinese styles,' ibid, p. 279.