Painted in vibrant blue with flowers, leafy sprigs, stylised waves and lotus enclosed within an Islamic-style geometric honeycomb pattern, between bands of floral scrolls, the short straight foot with a band of demi-florettes and the wide neck with a border of stylised breaking waves, Japanese box. 

Notes: In Chinese, this jar was commonly known as a zhuangguan (壯罐), literally translated as 'robust jar'. It is recorded that in 1748, 'Emperor Qianlong made a command to Tang Ying that 'robust jars' be made in accordance with those made during the Ming dynasty, without seal mark...After firing, they were transported to Beijing on the fourteenth day of the fifth month of the fourteenth year of the reign of Emperor Qianlong.' It is possible that the present lot was part of the Qianlong Emperor's order. See Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.323, for another similar jar with its cover dated to the Qianlong period, in the Nanjing Museum.

A similar jar is illustrated by Y.Peilan, Appraising Ancient Chinese Ceramics, Taipei, 1994, pp.122-123, where early Ming examples of this form and design, attributed to the Xuande period, are compared with 18th century examples. The original Xuande period prototypes were inspired by Islamic geometric patterns, highlighting the significant cross-cultural links between China and the Middle East at that time. 

Another jar included in the Shanghai Museum, is illustrated by Lu Minghua, Qingdai Yongzheng Xuantong guanyao ciqi, Shanghai, 2014, pl.4-11. See also Sun Yingzhou de taoci shijie, Beijing, 2005, pp.240-241. 

A similar jar, dated to the Qianlong period, was sold at Christie's London, 8 November 2011, lot 389. 

Bonhams. AUCTION 23237: FINE CHINESE ART, LONDON, NEW BOND STREET