10 - * CHINA, Qing Dynasty (1644–1912)

* CHINA, Qing Dynasty (1644–1912) A rare porcelain vase, its shape modeled after the archaic “Hu” style, mounted on a circular foot with a curved base; the body is wide and ovoid, topped by a flared neck. It is decorated throughout with a delicate design painted in cobalt blue enamel on a white background; the upper part of the body features the Eight Emblems of Buddhism, known as Ba Jixiang, above lotus flowers arranged in two registers and connected by abundant leafy branches, executed using the technique known as “heaping and piling.” The body is flanked by two handles rendered in relief, shaped like taotie masks in an archaic style and featuring rings. The foot and the rim are decorated with friezes of foaming waves; the lower part of the body is highlighted by a frieze of stylized lotus petals. The shoulder is encircled by a frieze of geometric scrolls. A six-character Qianlong mark in cobalt blue beneath the base. H. 49.5 cm D. (body): 41 cm D. (neck): 20.5 cm (Firing defect on one of the handles). Provenance: Private collection in Cannes belonging to Mr. and Mrs. M. Given to the current owner in the 1960s by her husband, then director of the Banque de l’Indochine on Boulevard Haussmann in Paris. According to family accounts, he himself had received this piece as a gift from another director of the bank upon his departure from the Paris branch to Cannes. This vase bears witness to the high degree of technical mastery achieved by porcelain workshops during the Qing Dynasty. Through its form and decoration, it allows us to delve into the very essence of Qing-era craftsmanship. Its archaic silhouette, in the shape of the character “hu,” draws directly from the repertoire of ritual bronze vases of ancient China and reflects a pronounced taste for antique models. Inspired during the reign of Emperor Qianlong (1736–1795), a great lover of antiquities, he encouraged the reinterpretation of forms and ornamentation derived from ancient works, whose codes were reimagined by the imperial workshops and transposed into the language of porcelain. The two ring-shaped handles in relief, depicting taotie masks—fantastical animal motifs—emphasize this connection to archaic bronzes. This form, drawn from the past, is complemented by an ornamental design of great iconographic richness. The body is adorned with two bands of blooming lotus flowers, connected by leafy scrollwork, while the lower section is highlighted by a frieze of foaming waves. The shoulder features a band depicting the Eight Emblems of Buddhism, known as Ba Jixiang, arranged between the handles and intertwined with sinuous ribbons. Originating in Tibetan Buddhist iconography, these motifs were introduced into Chinese art during the Yuan Dynasty, before becoming widely used in the decorative arts of the Ming and Qing dynasties. They include the Wheel of Dharma, a symbol of the Buddha’s teachings; the conch shell, representing his voice; the victory banner, associated with spiritual triumph; the parasol, an emblem of protection and spiritual authority; the lotus, a symbol of purity and enlightenment; the two fish joined together, associated with bliss and spiritual freedom; the treasure vase, a symbol of abundance and harmony; and finally, the endless knot, symbolizing interdependence and the union of wisdom and compassion. Originally imbued with religious significance, these emblems were also incorporated into the auspicious vocabulary of the imperial court, serving to bestow auspicious blessings upon their owner. The remarkable quality of the decoration on this vase is due to a particularly subtle mastery of underglaze cobalt blue painting, executed using the artistic technique known as “heaping and piling.” This technique involves applying the pigment in successive layers, varying its concentration to produce variations in color intensity and effects of depth. Areas of high concentration reveal the different shades of cobalt blue, contrasting with more diluted sections. The lotus corollas, the veins of the leaves, and the sinuous curves of the foliage are thus highlighted by a subtle interplay of contrasts, which lends the composition a perfectly mastered sense of depth. This piece thus offers us a particularly accomplished synthesis of the aesthetic aspirations of the imperial court during the Qing dynasty, combining the monumentality of an archaic form inherited from