Black glazed porcelain, polychrome enamel painting China, Kangxi period (1662-1722) Elegantly potted into an ovoid shape Thickly glazed Double-circle mark on the verso in cobalt underglaze blue The exterior is adorned in Fahua manner relief against the ground Subtle tone and restrained spectrum of enamel colors offer a beautiful contrast with the black glaze Eight auspicious Buddhist symbols (lotus flower, wheel of dharma, parasol, endless knot, golden fish pair, victory banner and treasure vase) are placed in between the double layered lotus and foliage scroll A band of keyfret motif on the shoulder, and the bottom with border of seal script characters The matching cover made of brownish wood (some parts missing) in fine open work relief Fine translucent white jade inlay in the center, with subtle low relief carving of a dragon over the clouds on the surface Height: 12 ¼ in (31.1 cm) without the cover; 13 in (33 cm) with cover The underside with old labels by Yamanaka & Company and Parke-Bernet Galleries The vase is in very good condition Provenance: Featured at a sale of Collection of Yamanaka & Company, sale number 3798, American Art Association Anderson Galleries, Anderson Galleries, New York, December 4th to 7th, 1929 (see detailed photos) Former Estate of William Nicholas Roos, a New York interior designer Estimate by Auctionata Expert: 90,000 USD Ceramics decorated in Fahua technique were first introduced in the reign of the Xuande emperor (1426-1435) and became very popular throughout the Ming dynasty (1368-1644). Whereas the typical Ming dynasty Fahua pieces feature a peculiar bright turquoise- or dark-blue glazed ground in combination with highlighted areas in light blue, white or yellow, the present example shows the typical color palette of the Famille Noire, which was highly in fashion during the Kangxi period (1662-1722). Only very few 18th century Fahua-style porcelains have survived but it is documented that the Qianlong emperor was a huge admirer of Ming dynasty Fahua ceramics and that he had pieces inspired by this technique ordered for his court (cf. The Complete Collection of Treasures of the Palace Museum - 39 - Porcelain with Cloisonne Enamel Decoration and Famille Rose Decoration, Commercial Press, Hong Kong, 1999, p. 167, no. 148). This vase appears to be a link between the well-known Ming dynasty Fahua pieces and the impressive Famille Rose Fahua-style ceramics dating to the Qianlong period (1736-95). The most popular motif in Fahua ware is the lotus pond. This motif can be found on important examples from the Ming dynasty and was carried on until the 18th century. See e.g. a Fahua Meiping vase in the collection of the British Museum and illustrated in Harrison-Hall, Catalogue of Late Yuan and Ming Ceramics in the British Museum, London 2001, no. 13:5. Another Fahua ‘Lotus Pond’ jar in the Victoria & Albert Museum is even closer related to the present vase, showing a distinctive preference for the combination of lotus scrolls and ornamental design (Inv.no. C.996-1910). As the decoration of this vase is strongly influenced by Fahua pieces from the Ming dynasty and can be placed on a stylistic line reaching from the Ming dynasty up into the 18th century, it is also equally a very important porcelain of the Famille Noire category. The term Famille Noire is an invention of the 19th century and was applied to early Qing dynasty porcelains featuring a characteristic black-enameled ground. The ornamental lotus scrolls and blossoms on the present piece are related to Famille Noire porcelains such as a dish in the collection of the Victoria & Albert Museum (cf. Rose Kerr, 'Chinese Ceramics, Porcelain of the Qing Dynasty 1644-1911' V&A, 1998, No. 23). The cover, possibly made out of brownish wood, is decorated with openwork of floral and foliage scroll carving. A fine translucent white jade inlay on the center which bears a subtle and refined carving of a dragon and clouds in fine low relief. This refined and very thoughtfully selected cover, which was possibly added in the 19th century in order to replace the lost original cover, indicates that vase has always been of great importance. Fahua: The term Fahua refers to Chinese stoneware or porcelain with bold decoration in deep blue, turquoise, purple, green, yellow, and white alkaline glazes. Similar to the copper wire bordering of cloisonné, Fahua style wares typically outline motifs with raised trails of white slip. These elevated slip lines serve to inhibit enamels of different colors from flowing into each other. To achieve this result, unglazed porcelain objects are fired and then enamels are applied to the individual areas created by the slip lines. For stoneware pieces decorated in Fahua style, a white slip coating is applied in order to provide a good surface onto which the enamels can be applied. The decorative technique was used to ornament a wide range of objects, including garden seats, wine jars, and vases. Fahua style works were originally produced during the 14th century, in both the Northern Province of Shanxi and Southern city of Jingdezhen. High-fired porcelain bodies and palettes are typical of those Fahua wares made at Jingdezhen, the site of the imperial kilns. Provenance: Featured at a sale of Collection of Yamanaka & Company, sale number 3798, American Art Association Anderson Galleries, Anderson Galleries, New York, December 4th to 7th, 1929 Yamanaka & Company Yamanaka & Company was an Asian art dealership founded by Japanese-born Yamanaka Sadajirō (1866-1936). During the first decade of the twentieth century several East Asian businessmen, taking advantage of the improved western relations with China, set up businesses in Europe and America. Dealers such as Tonying, C. T. Loo (q.v.) and Yamanaka all began to sell Chinese objects, including porcelain and ceramics, directly to western collectors. Yamanaka & Co, which by 1900 had offices in New York, Beijing, Osaka and London, bought and sold collections of various Manchu princes. In 1915 the British Red Cross Loan Exhibition was held in the Yamanaka Gallery in London, and in 1935-36 Yamanaka & Co lent assistance to the International Exhibition of Chinese Art at the Royal Academy. Condition The vase is in overall very good condition, has a particularly well preserved decoration and noir glazed ground. Two small chips on the mouth rim, minor scratches to the glazed surface. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance. Starting Price : 45000