In 2021, an imperial revolving phoenix vase from Qianlong period stunned the Chinese antique world as it set the record for the most expensive ceramic at RMB 265.7 million (US$41.6 million).
Among the priciest pieces of imperial porcelain today, revolving vase was a new innovation of the Qing imperial kilns, invented in th 1740s for Emperor Qianlong's delight. On 9 October, Sotheby's Hong Kong is bringing another impressive revolving vase to its A Journey Through China’s History: The Dr Wou Kiuan Collection Part II Sale.
In its outstanding technical intricacy, combining reticulated, interlocking and revolving features, the present piece is extremely rare, where only two similar extant examples could be found – one a in a private Hong Kong collection; another of much smaller size and on yellow ground in the National Palace Museum, Taipei.
Xibo Wang, Director, Head of Department, Chinese Works of Art, Sotheby’s Hong Kong
Lot 3801 | A ruby-ground yangcai 'trigrams' reticulated vase
Seal mark and period of Qianlong (1736-1795)
Height: 31 cm
Provenance (Amended by The Value):
- Collection of Henry Brougham Loch, 1st Baron Loch of Drylaw (1827-1900), by repute
- Collection of Alfred Morrison (1821-97), Fonthill House, Tisbury, Wiltshire, no. 328, probably since 1861
- Collection of the Rt. Hon. The Lord Margadale of Islay, T.D., J.P., D.L. (1906-96)
- Christie's London, 18th October 1971, lot 56
- Collection of Dr. Wou Kiuan
- Wou Lien-Pai Museum, 1971-present, coll. no. Q11.49
Estimate: HK$60,000,000 - 120,000,000
Qianlong Emperor was one of China’s most prolific art collectors. When it comes to ceramics, the Son of Heaven was extremely hard to please: he favoured antiquity-inspired yet fashionable designs, enjoyed objects that were simulations of other materials, and loved technical innovation for his amusement.
In 1741, the Emperor had reprehended Tang Ying, the most inventive and capable supervisor the imperial kilns ever had, for low quality and breakages in porcelains sent to the court. Such imperial reprimand had raised serious alarms for Tang, who was then determined to turn the page and redeem his mistakes.
In order to recover the imperial kiln’s lost grace, Tang and his potters had come up with something extraordinary and of marvellous technical sophistication – revolving vases with layered openwork or interlocking sections.
A new invention of the time, revolving vase is made up of separate pieces: the neck is connected to an inner cylinder, while the outer walls, base and foot form the envelope within which it revolves. A porcelain cone placed in the centre between the bases of the outer and inner sections provides the pivot on which the latter is able to rotate.
Structure of a revolving vase; Collection of National Palace Museum, Taipei | Qing yangcai revolving vessel, Qianlong period
Imperial yangcai ruby-ground with carved openwork “phoenix scene” revolving vase, Qianlong; sold: RMB 265.7 million (US$41.6 million)
Pieces with moveable and interlocking parts were unheard of in ceramics – they only existed in jade, where they also were very complicated to realize. To create such forms in porcelain was the greatest challenge for the potters at imperial kilns – they would have to make sure that during firing no part of the vases should distort, and all sections should shrunk the same amount so that they could be assembled flawlessly.
And each of these revolving vases were to be fired twice at different temperatures: first for the porcelain itself, then again for the decorations and various colours.
It was only two years after, in 1743, that Tang Ying presented a total of nine vases of this never-been-seen design to the court, stating that he did not dare to create more, since they are so expensive to make; yet, he would later, if accepted, make pairs.
Though the Emperor’s reaction had not been passed on, he must have been satisfied with these works – not only did he ask for pairs to be made for the singles, in spite of their exaggerated costs, but also he ordered fitted stands to be made for the vases.
Not contended with vases that revolves, the masterful potters who produced the present piece added a further degree of difficulty to their task by dividing the outer walls into two parts, with the rims where they meet fashioned into a cloud-shaped ruyi pattern, an auspicious motif known as jiaotai, meaning a country at peace and her people prosperous.
Hoping to please the Emperor, the reticulated patterns on the present vase are designed as trigrams, where their message in the Book of Changes carried important meaning for Qianlong, who used the first of the Eight Trigrams, qian, consisting of three unbroken strokes and representing heaven, or the male principle, in his reign title.
While most of the revolving vases had either a reticulated or interlocking outer wall, the present piece is an extreme rarity combining both two features – and each thoughtfully stands as an auspicious symbol. According to archives, vases with jiaotai and trigrams are referred to as ‘heaven and earth intertwined’, signifying a harmonious universe.
Technical sophistication aside, what adds to the vase is its stylistic coherence, which fuses nostalgic elements with fashionable takes on international trends of the day. On the outside of the vase is a strongly Western-oriented painted decoration, where the bright ruby ground is finely incised in sgraffiato with dense feather arabesques, and distinct shading is introduced to create three-dimensionality.
Peeping through the narrow openings, what hove in sight are underglaze-blue lotus scrolls in early Ming (1368 – 1644) style, painted on the inner tube which represents the actual body of the vase.
A similar vase sold in 1988 at Sotheby’s (left); the present vase (right)
Collection of National Palace Museum, Taipei | An imperial yellow-ground yangcai 'trigrams' reticulated vase, made in the 9th year of the qianlong reign (1744)
There exists only one very similar vase, which was formerly in the collections of Laurent Héliot and Jack Chia and now in a private Hong Kong collection, sold in 1988 at Sotheby’s. Looking through the catalogue, although the two share similar form, design and size, on that vase there is an additional raised rib below the neck, suggesting it is not the exact pair to the present piece.
According to Sotheby’s, one of these vases might represent the first piece delivered in 1743, the other may have been made as a pair to it, but later, after the Emperor had asked for it.
A pair of smaller vases of similar overall form, construction and decoration but on a yellow ground is in the National Palace Museum, Taipei.
Alfred Morrison, a renowned Chinese antique collector who previously owned the vase
Previously in the Fonthill collection owned by English collector Alfred Morrison, the distinguished provenance of the work speaks for itself.
Alfred Morrison was born in a wealthy family, where his father was a successful entrepreneur and haberdasher. After he graduated from university, Morrison’s love for art was kindled over the course of multiple trips and expeditions. Following his father’s death, he began acquiring a vast array of museum-quality artworks with the expansive fortune he inherited.
Among them were various fine pieces of Chinese works of art he acquired from Lord Loch of Drylaw, a British soldier and colonial administrator. This substantial group of porcelains and enamel wares enriched Morrison's Fonthill collection with diverse Chinese imperial art. Since then, Fonthill House has become almost a synonym of top-quality Chinese works of art.
Dr. Wou Kiuan, a renowned Chinese antique collector who previously owned the vase
In 1971, this reticulated vase was sold to Dr. Wou Kiuan at Christie’s sale of the Morrison collection. Son of a prominent statesman during early 20th century China, Wou grew up receiving elite education. At the age of 20, he moved to France to study law and later earned his doctorate degree from the Sorbonne University in Paris.
After graduation, Wou embarked on an illustrious career in diplomacy until his retirement in 1952, after which he devoted his time to the study of Chinese archaeology and art. A collector at heart, he studied Chinese history rigorously and acquired Chinese antiquities with a meticulous approach.
From the mid-1950s to late 60s, he had formed a rich collection with well over 1,000 works that included every category of Chinese art. In 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father.
Other Highlight Lots:
Lot 3803 | A pair of yangcai 'butterfly' vases
Seal marks and period of Qianlong (1736-1795)
Height: 47cm
Provenance:
- Collection of Lord Loch of Drylaw (1827-1900), by repute
- Collection of Alfred Morrison (1821-17), Fonthill House, Tisbury, Wiltshire, no. 552
- Collection of the Rt. Hon. The Lord Margadale of Islay, T.D., J.P., D.L. (1906-96)
- Christie's London, 31st May 1965, lot 107
- Collection of Dr Wou Kiuan (1910-97)
- Wou Lien-Pai Museum, 1968-present, coll. no. Q7.34
Estimate: HK$40,000,000 - 60,000,000
Lot 3806 | A cloisonné enamel 'kui dragon' tripod incense burner
Seal mark and period of Qianlong (1736-1795)
Height: 123 cm
Provenance:
- Collection of Lord Loch of Drylaw (1827-1900), by repute
- Collection of Alfred Morrison (1821-97), Fonthill House, Tisbury, Wiltshire
- Collection of the Rt. Hon. The Lord Margadale of Islay, T.D., J.P., D.L. (1906-96)
- Christie's London, 31st May 1965, lot 133
- Collection of Dr Wou Kiuan (1910-97)
- Wou Lien-Pai Museum, 1968-present, coll. no. Q9.35
Estimate: HK$15,000,000 - 20,000,000
Lot 3802 | A yellow-ground green-enamelled 'dragon' vase
Seal mark and period of Yongzheng (1722 - 1735)
Height: 30.5 cm
Provenance:
- Collection of Lord Loch of Drylaw (1827-1900), by repute
- Collection of Alfred Morrison (1821-97), Fonthill House, Tisbury, Wiltshire
- Collection of the Rt. Hon. The Lord Margadale of Islay, T.D., J.P., D.L. (1906-96)
- Christie's London, 31st May 1965, lot 116
- Collection of Dr Wou Kiuan (1910-97)
- Wou Lien-Pai Museum, 1968-present, coll. no. Q8.2
Estimate: HK$3,000,000 - 4,000,000
Lot 3804 | A blue and white handled vase, hu
Seal mark and period of Yongzheng (1722 - 1735)
Height: 33.5 cm
Provenance:
- Collection of Dr Wou Kiuan (1910-97)
- Wou Lien-Pai Museum, 1975-present, coll. no. Q8.33
Estimate: HK$2,500,000 - 3,000,000
Lot 3805 | A blue and white 'bajixiang' charger
Seal mark and period of Yongzheng (1722 - 1735)
Diameter: 45 cm
Provenance:
- Christie's London, 31st October 1966, lot 55
- Collection of Dr Wou Kiuan (1910-97)
- Wou Lien-Pai Museum, 1968-present, coll. no. Q8.34
Estimate: HK$2,000,000 - 3,000,000
Auction Details:
Auction House: Sotheby's Hong Kong
Sale: A Journey Through China’s History The Dr Wou Kiuan Collection Part II
Number of Lots: 6
Date and Time: 9 October 2022 | 10am (Hong Kong Time)