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Large Chinese blue & white basin, Qing dynasty.
Probably Kangxi period (1662–1722), scholar’s room piece.
Porcelain, diameter approx. 14.1 inches, total height with stand approx. 15.7 inches.
Well-painted in varied cobalt tones with a bird perched among bamboo, a classic late 17th-century scholar motif.
The rim carries a freehand leaf-and-berry border typical of Kangxi domestic blue & white.
The exterior shows a subtle throwing line (shoulder ring) – a structural feature associated with large Transitional / early Kangxi wheel-thrown vessels.
Glaze is smooth with a slight cool tint; the footrim is neatly cut, hard-fired, with light iron speckling consistent with early Qing production.
Overall form, cobalt quality, and construction details support a dating in the late Kangxi period rather than later 18th–19th century manufacture.
Comes with an old carved hardwood stand (19th century), well-fitted to the piece.
Acquired at Scandinavian auction. Am i correct? The sticker under is 1736-1795 but i think it is wrong?
Ok, if no one can answer your question now, when it arrives please post up some more pictures. 😊
I wonder if it could be Japanese.
Birgit
@shinigami Hey I'm 100% sure it's not Japanese; now when I hold it in my hands I'm sure it's Kangxi 1680-1700.
The form, mass, cobalt tone, glaze texture and rim treatment categorically exclude Japanese origin. This basin is Chinese, Jingdezhen, late 17th century (late Kangxi period).
@lotusblack Thank you for the input. I’m not convinced this fits Qianlong. The heavy body, down-turned rim, decoration running fully to the edge, and the character of the cobalt and glaze point to a late 17th century Kangxi date, retaining strong late Ming transitional traits.
Do you have a comparison for the turned down rim? I think the external decoration looks 19th c but the interior could pass for qianlong only there is something rather strange about it, that I feel is wrong.
@julia Thank you – that is exactly the aspect I find most diagnostic. The down-turned, thickened rim is not a Qianlong feature. In Qianlong basins the rim is typically straighter, thinner and more controlled, often with decoration stopping short of the lip. Here the decoration runs fully to and over the rim, and the lip itself turns slightly inward/downward in a very functional, weight-bearing manner. This rim treatment is well documented on late 17th century Kangxi basins and in the late Ming / transitional tradition, particularly on large scholar’s wash basins where strength and stability were prioritised over refinement. What may feel “strange” is precisely that the interior painting retains a Ming-derived looseness and weight that survives into early Kangxi, but becomes increasingly incompatible with mid–late Qianlong aesthetics. When combined with the heavy body, glaze texture and cobalt tone, the overall construction does not sit comfortably in the Qianlong period despite some superficial decorative similarities. I therefore see this as late Kangxi (circa 1685–1700), strongly retaining late Ming transitional characteristics.
Interesting as, although we agree the decoration is off somehow, I don't find the decoration loose, I see it as rather stiff.
I still haven't found a curved rim dating to the 18th c or earlier. I will keep looking as this is an interesting thing to know.
Thank you – that’s a fair point, and I agree that “loose” may not be the best word here. The decoration is indeed quite controlled and structured, but what I see as non-Qianlong is not looseness per se, rather the absence of Qianlong refinement: the brushwork retains a Ming-derived directness without the polish, layering and tonal modulation typical of mid-18th century court wares.
Regarding the rim, I think the difficulty in finding parallels lies in classification. This is not a decorative curved rim in the 18th–19th century sense, but a functional turned-down reinforced lip, intended to strengthen the edge and control water flow. Such rims appear sporadically on large late 17th-century utilitarian forms (wash basins, water vessels), but are uncommon and rarely illustrated, as these were working objects rather than display pieces.
I agree it’s an unusual feature, which is precisely why I hesitate to place it comfortably in the Qianlong period, where form tends to be more standardised and elegance takes precedence over function.
I never thought of the rims being decorative. They were very common on old UK water basins, as it not only assists water flow, but the lifting of the piece.
I wonder if any old paintings show these chinese wash bowls? I shall keep my eyes open.
That’s an interesting comparison, and I agree entirely – the rim makes perfect sense as a functional solution, much like on early European wash basins.
As for pictorial evidence: Chinese scholar’s wash bowls do appear in late Ming and early Qing paintings, though usually incidentally rather than as focal objects. They are most often seen in wenren studio scenes depicting scholars at desks, sometimes placed on low stands beside writing tables. Because they were utilitarian objects, artists rarely emphasised them, which makes them easy to overlook.
A few late Ming paintings of scholar studios (for example in the tradition of Chen Hongshou and his circle) do show large ceramic basins used in this way, though they are not always rendered with enough detail to show rim profiles clearly. Still, their scale and placement are consistent with the type of object we are discussing.
I agree it would be very interesting to find a clearly detailed painted example – they are probably there, but hidden in plain sight.
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Topics and categories on The BidAmount Asian Art Forum | Chinese Art
Kangxi vases, Kangxi dishes and chargers, Kangxi ritual pieces, Kangxi scholar's objects, Qianlong famille rose, Qianlong enamels, Qianlong period paintings, Qianlong Emporer's court, Fine porcelain of the Yongzheng period. Chinese imperial art, Ming porcelain including Jiajing, Wanli, Xuande, Chenghua as well as Ming jades and bronzes.
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