A rare pair of Ming-style blue and white lantern-shaped jars and covers


QianlongEach painted in vibrant tones of cobalt-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, the domed covers with finials similarly decorated with geometric patterns. Each 28.5cm (11 1/4in) (4).
|清乾隆 仿明青花花卉錦紋帶蓋壯罐一對This type of 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, the renowned supervisor of the Imperial porcelain factories at Jingdezhen, 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 14th day of the 5th month of the 14th year of the reign of Emperor Qianlong.' See Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.323, for another similar jar, Qianlong, 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 similar jar in the Shanghai Museum is illustrated by Lu Minghua, Qingdai Yongzheng Xuantong guanyao ciqi, Shanghai, 2014, pls.4-11. See also Sun Yingzhou de taoci shijie, Beijing, 2005, pp.240-241. Another similar jar and cover, probably presented by the Qianlong emperor in 1793 to King George III, is illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of her Majesty the Queen, London, 2016, p.201, nos.420-421.