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OK folks, in fourty years of looking at Chinese porcelain I have never seen anything quite like this piece. My first thought was how in the world did the potter fabricate this vase? Can the group fill in the blanks regarding any information out there on this piece? This photo is all that I have for now (catalog not published yet).
That is a rather unusual looking vase. I have seen conjoined vases and such before, but not this.
Traditional construction involves top and bottom being joined together. I think a cast could be made to create that form, but that doesn’t mean that method was necessarily used here.
A one of a kind form??? This fall season has produced some surprises.
It does look rather intricately decorated.
Could it be this vase was handbuilt? I can't imagine this being thrown on a wheel and manipulated to that shape. I love it.
A kind of slab construction with 4 identical pieces, the top formed by making 2 slits and then inserting 2 possibly triangular shaped pieces to form the side walls between the cut edges - like one would if one were sewing this out of material?
After reading several responses, I have to agree that slab construction with the lutting of several sections is a logical possibility. Looking at the photo, there is a clear line that could indicate two joined sections in the top third of the vase. This would make the extensive hand carving of the top piece much easier with access to both the top & bottom openings of that particular section.
I wonder if this shape could be based on a bronze example?
@william Yes, I believe these type of square archaic vases are called ‘Fang’, but the four fluted mouths is unique.
Hi William -
Very intriguing vase ...
As with yourself and Greeno, I have not seen anything quite like it before ...
If genuine then Julia is quite correct, main body slabbed constructed then luted together vertically at the conners, the top section made separately and luted horizontal to main body ...
The main form and decoration base on/echoing an ancient bronze vessel. Looking from above the individual four top sections may depict/form the Swastika ‘Wan’, which represent the heart of Buddha ...
The Imperial kilns during the Yongzheng/Qianlong periods undoubtedly had knowledge and skills to produce such vessel, but the failure rate was probably high due to construction complexities ...
Will be interesting to see images/description and provenance details, if any, when catalogue published ...
Stuart
Catalog description of vase.
Acquired in Europe in the 1970s by the grandfather of the present owner, said to have come from the collection of Robert de Stryker
Thence by descent
The present vase appears to relate to a select group of Imperial celadon-glazed wares, often associated with production in the Imperial kilns under the supervision of Tang Ying (1682-1756). These wares are notable for their high quality and variety of creative form and decoration. This particular subgroup of celadon-glazed wares, with decoration carved or molded in low relief, exhibit this variety of form and decoration. These often appear to be inspired by archaic wares, particularly ancient bronzes, but also the wares of the early Ming dynasty. This is evident not only in terms of form, but also in the use of decoration such as archaistic kui-dragon scrolls (angular or more organically foliate in nature), or dense lotus scrolls and lappets, in addition to the incorporation of later auspicious motifs such as Buddhist or Daoist symbols or homophonic symbols such as bats or ruyi scepters.
To date, another example of this technically difficult form has not been located. Other Qianlong mark and period celadon-glazed vases decorated with carved or molded archaistic kui-dragon scrolls are known, but none with this highly unusual “萬” (wan)-shaped or swastika-form mouth. “萬” translates as "10,000", signifying unlimited abundance or longevity, an auspicious motif, particularly suitable for a birthday celebration or similar important event. For an elaborate celadon-glazed vase with swastika-ornamented ribbons at the shoulders, with Qianlong seal mark in relief, see "Qing Imperial Monochromes the Zande Lou Collection", Shenzhen, 2005, pp. 120-121, no 43.
For a pair of Qianlong mark and period celadon-glazed vases with lip in the form of an "Endless Knot" in the Collection of the National Palace Museum, Taipei, see "Catalogue of the Special Exhibition of K'ang-hsi, Yung-Cheng and Ch'ien-lung Porcelain ware from the Ch'ing Dynasty in the National Palace Museum", Taipei, 1993, p. 128, no 101 (one illustrated).
Sounds mysterious. You could eventually send them an email to ask what happened. I would like to see some close-ups of the archaistic decoration myself.
I think the correct term for the archaic prototype would be 'fang hu' but overall it is base on the archaic 'hu' form.
Here you can see a closely related Qianlong marked hu-form vase I own that is either a 20th century copy or an authentic Qianlong period example. I am calculating with a potential value of a million dollar or more if it should turn out to be of the period. As far as I know the highest price paid for a Qianlong mark and period celadon hu-form vase with carved archaistic decoration is $7,9m. It was a record for Qing dynasty monochromes at the time.
Just found this Chinese link where we can see the full description, sharp pictures as well as close-ups.
No, I haven't send pics to any auction and no provenance is known. There is a Qianlong period vase of identical shape at the National Museum of Denmark. That one has a ribbon around its neck in stead of handles and no carved decoration. It is also only around 25cm high. My vase is almost 40cm high. Some Jiaqing mark and period softpaste vases of different shape are carved with identical archaistic decoration.
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