Bonhams to sell intriguing jade puzzle

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Usually, cataloguing an item for auction does not pose any particular problem. A vase is a vase, a brush pot is a brush pot, and ginger jar is a useful term which covers many options, and there are plenty more terms which might be applied to objects with very specific uses. However, Bonhams have come with a most curious and intriguing item which, well, defies accurate description . . .

Ostensibly, it is a white jade hinge-fitting. But, of course, it is not so pedestrian an item as to actually be a hinge. The precisely constructed elements of this white jade hinge-fitting, made for the Qianlong Emperor (1736-1795), might have served to remind him of his duty to be scrupulous and precise in his own rule. This beautiful object, estimated at £200,000 to £300,000, is in Bonhams sale of Fine Chinese Art on May 15th in London.

Scholars still do not know the precise meaning of this culturally intriguing object. Bearing a Qianlong six-character fang gu mark, and of the period, the pure white stone is of exceptional clarity, unusually carved with two rectangular hollowed tubes, each of the wider sides carved in mirror image to suggest an archaistic mask.

The hinge-fitting embodies much of the artistic and historical pre-occupations of the Qianlong period. Carved from exceptionally fine and lustrous white stone, with even the minor flaws most cleverly incorporated into the scrollwork, the thinly hollowed supremely challenging, yet technically flawless, piece is representative of the highest skill of the 18th century craftsman. Furthermore it falls into a group of jade pieces carved with the Qianlong fanggu mark, specifically carved with archaistic designs inspired by archaic bronzes, to reflect the concerns of the Qianlong Emperor with drawing moral strength and righteousness from the examples of the ancients.
A few examples of jade pieces designed to the same specifications as the present lot are preserved in the most prestigious museum collections, including a white jade piece in the Palace Museum, Beijing.

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The design has been and remains, to scholars, collectors and curators, a most intriguing puzzle. The form has ancient origins, and its ancient bronze prototype can be found in the Catalogue of Xiqing Antiquities, which was an illustrated catalogue of ancient bronzes in the Imperial Collection, completed in 1751. However even the cataloguers could not describe the bronze prototype other than as a ‘Han Dynasty ornament’ and to state that the two tubes are movable.
It is interesting to compare the present lot and those in museum collections with another white jade hinged piece which is further unusual in being inscribed with an Imperial poem. The poem appears to refer to the jade piece as a ‘ruler’ to be used to ‘compare lengths’ with ‘precisely fitting workmanship’. This pre-occupation with the idea of measuring is also connected to the idea of the benevolent ruler who is guided well.

This is a vastly intriguing little piece and it will be interesting to see how it fares on March 15. Perhaps somebody knows better than the rest of us what it is all about.

White jade

£1.5m. Chinese dragon moonflask doubles estimate at Bonhams

Bonhams moonflask

In an extraordinary range of auctions timed to coincide with Asian Art in London, there are many standout items but, one on which the highest of hopes was pinned was an Imperial blue and copper red turquoise-glazed moonflask. Today it more than fulfilled expectations at Bonhams when it was sold at £1,482,500 against an estimate of £500,000 to £800,000.

It bears the Quianlong mark and is of the period. It was sold on November 7 by Bonhams New Bond Street.

Certainly an object of great beauty, it is described by the auctioneers as ‘magnificent and rare’ and comes together with an extraordinarily long catalogue entry, in English and Mandarin, which details it together with its outstanding provenance. The entry also incorporates a very digestible summary of the development of English taste and collecting of Chinese porcelain.

Bonhams believe ‘the present lot can be said to epitomise much of the stylistic achievements in porcelain production during the Quianlong period.’ There are, apparently, only two other dragon moonflasks with the distinctive turquoise glaze.

It was acquired in China by Captain Charles Oswald Liddell (1854-1941) who lived in China from 1877 to 1913. Since his death it has remained in the family. A trader active in Shanghai, he built up an outstanding collection of Chinese porcelain. This moonflask was exhibited in 1929 by Bluetts in their exhibition The Liddell Collection of Old Chinese Porcelain.