The Sash Vase

QING PERIOD 1644 to 1911

A MAGNIFICENT RARE SASH VASE 珐琅彩 FALANGCAI ENAMEL

The vase of Meiping form.

A simulated brocade sash of geometric lattice patterns bearing spectacular glorious coloured butterfly medallions, double peaches with flower and leaves.
The sash finely painted in blue, black and shades of green, tied in a large bow at the shoulders encompassing four shaped oval floral and pale blue-ground panels, each separated by a peony flower and leaves.

Below, exquisitely detailed, delicately enamelled with peonies and passion flowers, curling leafy stems bearing buds, all in a glorious display of colours and hues, the whole, set against an imperial yellow ground.

The neck and foot each having blue lappet necklets, pale rose edging, the neck with descending ruyi heads, the foot with ascending ruyi heads.

The base with two conjoined circles a white ground rimmed in black together bearing an iron red Qianlong Period Mark, all set against a pale lemon background bordered with russet coloured asters and scrolling.

The inside enamelled aqua.

This spectacular is vase is comparable to works produced in the Imperial Workshops of the Imperial Palace, 造 辦 處 Zaobanchu .

The Pièce de Résistance of a collection.

Formerly the property of a Japanese collector

Condition: Excellent.

Refer Large Images for details, quality and condition, they also form the description.
Depending on your computer monitor / phone / etc colour may vary to actual.

Dimensions are maximum measurements

Height about: 21 cm
Width about: 14 cm
A$20,000

Similar :
There is no record of a Falangcai Enamel Vase on copper of this size and design. This magnificent vase appears to be unique.

There is an example of a large Baluster Jar and cover bearing a similar style design formerly in the Fonthill Collection, auctioned Christie's London. 9th November 2004 lot 19.

There is an example of a double joined snuff bottle bearing a similar style design, in the Marakovic Collection. Hugh Moss.

This decorative technique of appearing to be tied with a sash seems to have first become popular in the reign of the Yongzheng Emperor.
The Japanese lacquer style in which a box appeared to be tied up in a square cloth was much admired by the Yongzheng Emperor, in the 10th year of his reign (AD 1732) he received two boxes in this style and liked them so much that he ordered that another should be made.


The art of enamelling was introduced to the Chinese Court in the Kangxi era 1654 to 1722, by the Jesuit Guiseppe Castiglione (Lan Shining).