Lot 3601. A fine and rare hexagonal celadon-glazed vase, Seal mark and period of Yongzheng (1723-1735); 27.9 cm., 11 in. Estimate 2,500,000 — 3,000,000. Lot sold 16,840,000 HKD. Photo Sotheby’s

of hexagonal form, robustly potted with a compressed globular body tapering to a waisted neck and a slightly everted mouthrim, all supported on a pedestal foot of corresponding form, the neck flanked by a pair of tubular lug handles, the voluptuous body bordered with two thin raised fillets, applied overall with an even unctuous celadon glaze thinning to the edges, the foot pierced with two apertures, the base inscribed in underglaze blue with a six-character seal mark, wood stand.

Provenance: Yamanaka & Co.

Exhibited: Nihon kotōji Shina kobijutsu tenrankai [Exhibition of Japanese and Chinese antiques], Osaka Bijutsu Club, Osaka, 1934, cat. no. 719.

Literature: Chūgoku no tōji [Chinese ceramics], Tokyo, 1955, cat. no. 387.

Note: The present vase is an exceptional example of the technical perfection achieved by craftsmen working at the imperial kilns in Jingdezhen in the Yongzheng period. As with many Yongzheng and Qianlong monochrome wares, this vessel is a reinterpretation of an archaic bronze hu form which was first developed by craftsmen working at the Guan kilns. The pierced foot is also reminiscent of guan wares which in turn were an adaptation of archaic bronzes. The original purpose of the apertures, as part of the casting process, was transformed into a decorative attribute that also acknowledged the glory of the past. The elegant lines and simple moulded horizontal ribs draw attention to the attractive form and the lustrous glaze. For another vase of this form, but covered in a crackled guan-type glaze, see Grand Exhibition of Ancient Chinese and Corean Works of Art, Yamanaka & Co., Osaka, 1934, cat. no. 608.

A great connoisseur of antique porcelains and with a discerning aesthetic sense for works of art, the Yongzheng Emperor demanded the highest level of craftsmanship in the production of elegant and finely manufactured implements for personal enjoyment. Monochrome vessels required the great skill and precision in every stage of their production, from the purity of the clay and precision of the potting to the evenness of the glaze and control of the firing. The slightest irregularity would result in the rejection and destruction of the piece, thus pushing the craftsmen to the limits of their abilities, particularly in the production of large vessels such as the present. The subtle glaze has been created in imitation of Longquan celadon of the Song period (960-1279) and reflects the Qing emperors’ penchant for these early wares, which they not only collected but also commissioned the imperial kilns to recreate or imitate. The delicate, almost watery tone of celadon was a Kangxi innovation which was produced by lessening the amount of iron typically found in Song dynasty Longquan celadons. The glaze was further modified during the Yongzheng period to the fine bluish tone as seen on the present vase. 

Sotheby’s. Fine Chinese Ceramics and Works of Art. Hong Kong, 08 oct. 2014