Lot 121. A very fine and rare imperial carved 'archaistic' celadon vase, mark and period of Qianlong (1736-1795); 38cm., 15in. Estimate 500,000 — 700,000 GBP. Lot sold 580,000 GBP. Photo: Sotheby's 2007

of shouldered form with slightly flared neck and raised rim, the lower part of the body and shoulder carved in the style of a Middle Zhou bronze with undulating bands infilled with formal ring and hook motifs, stylised dragon taotie scrolls above a further band with pendant blades, each enclosing three 'C'-scrolls, the superb glossy glaze of even bluish-green colour accentuated by the crisp carving of the design.

Provenance: Collection of Zaizhen (1876-1948), son of Yikuang, the fourth Prince Qing (according to the inscription on box). 
Collection of Shoken Kotai Go, Emperor’s Taisho’s stepmother and wife of the Meiji emperor (according to inscription on box).

Note: The Japanese inscription on the box containing the present vase can be translated as follows:

The present article was presented on the 2nd day of the 9th month of the 35th year of the Meiji reign (equivalent to 1902) by Zaizhen with the beizi title.  
On the 15th day of the 8th month of the 3rd year of the Taisho reign (equivalent to 1914), Shoten Kotai Go bequeathed the article by imperial command.

Zaizhen (1876-1948) was the son of Yikuang, the fourth Prince Qing, 17th son of the Qianlong Emperor, Minister of Foreign Affairs and later Prime Minister at the Imperial Court. Zaizhen had the title beizi which was the 4th rank of nobility  in the Qing Imperial hierarchy. In 1902 he was sent to England as a special envoy to congratulate King Edward VII on his coronation, and subsequently visited France, Belgium, the United States and Japan. In 1906 he was promoted and became the Minister of the Board of Farming, Public Works and Trade. The present vase was possibly given to the Japanese imperial family as a gift on one of his many official visits to Japan. Shoken Kotai Go was Emperor Taisho's step-mother and the wife of the Meiji Emperor.  

The present vase is remarkable for its magnificent celadon glaze, highly stylised archaistic relief decoration and most elegant hu form. Inspired by archaic bronze vessels, this vase is a prime example of the very high level of quality achieved by artists working in the imperial kilns at Jingdezhen during the first part of Qianlong's reign. Tang Ying, Superintendent at Jingdezhen, strove for technical and artistic perfection. Wares made under his supervision were celebrated and known as Tangyao (Tang wares) after his name. They became renowned for their stylistic variety and exceptional quality. Archaic bronzes and jades often supplied models for Qing porcelain decoration, but on the present piece the motifs have become so highly stylized that they form an almost abstract design. The composition of different band designs is masterfully orchestrated and represents a prime example of the ornate Qianlong style. The present vase is done in a style particularly favoured by the Qianlong Emperor, reflecting his fondness for archaistic forms and designs. The carving on this vase is particularly deep which allows the rich celadon glaze to provide a contrasting tones, as if two different colours had been used. The glaze and form have been carefully chosen and are in complete harmony with the design.

Only a small number of related examples appear to be recorded and can be found in important museum and private collections. See one from the T.Y. Chao Family collection, sold twice in our Hong Kong rooms, 18th November 1986, lot 92, again, 27th April 2003, lot 62; and again at Christie's Hong Kong, 1st November 2004, lot 875. Another vase of the same pattern is illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 290. Further three examples were sold at auction, two in our Hong Kong rooms, 18th May 1988, lot 241, and 29th October 2001, lot 572, and one in these rooms, 2nd December 1997, lot 230.

For further examples of Qianlong hu-shaped vases see a large celadon-glazed vase of Qianlong mark and period, carved in a related style with formal floral scrolls and decorative borders, from the Estate of Count and Countess Constantin Israstzoff, sold in our New York rooms, 21st March 1980, lot 200.

For the archaic bronze prototype see a lei attributed to the 9th century B.C., illustrated in John Alexander Pope et al., The Freer Chinese Bronzes, vol. 1, Washington, 1967, pl. 83, with ring handles but closely resembling the present vase in the bands of decoration and in outline.

Sotheby's. Fine Chinese Ceramics & Works of Art, London, 16 May 2007