19.8 cm.（ 7 13/16 in ） high

REDESIGNING TRADITION_x000D_
A VERY RARE AND FINE BLUE_x000D_
AND WHITE ‘BATS IN CLOUD’ VASE_x000D_
BIBLIOGRAPHY:_x000D_
Ceramic Art of the World, vol.15, Ch'ing Dynasty, Tokyo, 1983_x000D_
Two Thousand Years of Chinese Ceramics, Japan, 1992_x000D_
The Complete Collection of Treasures of the Palace Museum, Porcelains in Polychrome and Contrasting Colours, Shanghai & Hong Kong, 1999_x000D_
Treasures in the Royalty, the Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003_x000D_
Porcelain of The Palace Museum, Ceramics of Qing Dynasty, Vol.1, Beijing, 2005_x000D_
The Qing Dynasty Porcelain of The Seikado Bunko Art Museum, Japan, 2006_x000D_
The Complete Collection of Treasures of the Palace Museum, Lacquer Ware of the Qing Dynasty, Shanghai & Hong Kong, 2006_x000D_
Compendium of Collections in The Palace Museum, Enamels 2, Cloisonne in the Qing Dynasty（1644 - 1911）, Beijing & Hefei, 2011_x000D_
The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, Taipei, 2014_x000D_
Shanghai Museum Porcelain Collection, Qing Imperial Wares, Shanghai, 2014_x000D_
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Magnificently - potted in compressed globular form, the wide body resting on a circular foot with a long straight neck rising to a gently lipped rim, the body overall painted with bats in flight amidst billowing cloud wisps, above two bands of overlapping blades and lotus petals at the foot and beneath a ruyi - head border at the rim, the sides flanked by a pair of chilong handles, the ferocious mythical creatures clambering up the sides in competition, all beautifully painted in varying richness of cobalt blue on cool white ground, the base with a formally - written six - character zhuanshu Imperial seal mark in underglaze blue._x000D_
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The present lot is a unique example of porcelain made at the Imperial kilns at Jingdezhen under the supervision of Tang Ying （1682 - 1756） during the Qianlong period （1736 - 1795）. Based on the research on public and private archives around the world, it appears that the current lot is the sole example with no other similar examples ever recorded._x000D_
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When Tang Ying was in active duty working for the Ministry of Internal Affairs, he had the opportunity to visit the Imperial Court collections and had the opportunity to familiarise himself with the treasures, and often contemplated on how to surpass these Imperial wonders. When the Qianlong emperor succeeded the throne, Tang Ying subsequently also came into power as the successor in charge of the Imperial workshops. Together, the emperor and his loyal subject formed an unspoken bond of passion, whereby Tang Ying often produced novel porcelain catering to the emperor’s personalized preferences. Porcelains produced during this period were often a combination of different artistic elements on relatable forms and decorations of the classic porcelain prototypes, but there are a few selected examples unique in their innovation like none other._x000D_
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The form of the present lot is described as bijideng deriving from the Kangxi prototypes. It is seen throughout the Yongzheng and Qianlong periods, and is predominantly found in blue and white decoration. See a related example of a Qianlong iron - red decorated blue and white ‘bats’ vase, bijideng, in the Shanghai Museum collection, illustrated in Porcelain Wares From the Official Kilns during Yongzheng and Xuantong Periods in Qing Dynasty, Shanghai, 2014, p.175, pl.3 - 37. The current lot is considered an even rarer sight compared to the said example, given that is has also a pair of ‘S’ - shaped chilong handles._x000D_
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There are also related examples of vases with similar chilong handles: see a Qianlong blue and white ‘peach and bat’ moonflask also in the Shanghai Museum collection, illustrated in ibid., Shanghai, 2014, p.80, pl.3 - 39； and a Qianlong puce - decorated blue and white ‘bats’ vase in the same collection, also illustrated in ibid., Shanghai, 2014, p.98, pl.3 - 61. See another Qianlong gilt - decorated doucai ‘bat and lotus’ vase and cover in the Qing Court collection, Palace Museum, Beijing, illustrated in The Complete Collection of the Treasures of the Palace Museum: Porcelains in Polychrome and Contrasting Colors, Shanghai & Hong Kong, 1999, p.280, pl.256； also a Qianlong doucai bajixiang vase in the Seikado Bunko Art Museum collection, Tokyo, illustrated in Seikadō zō Shinchō tōji : Keitokuchin kanʾyō no bi, Seikadō Bunko Bijutsukan, 2006, p.70, no.60._x000D_
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Among the examples provided above: the Palace Museum, Beijing, and the Seikado Bunko Art Museum examples in particular, have closely similar da Qing Qianlong nianzhi six - character zhuanshu seal marks to the present lot, which suggest they were probably manufactured around the same period and most likely under the same supervision. There are also further porcelain examples in Imperial collections, such as the Qianlong blue and white arrow vase and an inscribed Qianlong powder - blue ground famille rose vase in the Nanjing Museum, which have similar seal marks, see Treasures in the Royalty, the Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.240 & 313. According to research done by the Nanjing Museum on these two examples, the earlier example was commissioned to be produced at the Imperial kilns of Jingdezhen by the Qing Court on the 3rd year of the Qianlong reign, the latter example was also attributed to the early Qianlong period whereby it is believed that Tang Ying was personally responsible for the manufacture of the piece._x000D_
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It is also recorded in the Qing Court Archives of Task Completion of the Palace Workshops under the Ministry of Internal Affairs or Neiwufu Zaobanchu Gezuo Chengzuo Huoji Qingdang, during the 12th year of the Qianlong reign, it is stated that ‘on the 21st day of the 5th month, the stockroom supervisor Bai Shixiu sent messenger Zong Dazi to present to the eunich Wang Shijie… one blue and white double chilong vase… please assign a location and have a stand made, adhere to this. Around the 20th day of the 12th month, the leader of seventh - degree officers, Sa Muha, brought one blue and white double chilong vase with its accompanying wood stand, presenting it to the eunuch Hu Shijie, submission complete.’According to the passage above, it is therefore accurate to suggest that the date of manufacture of the current lot should be no later than the 12th year of the Qianlong reign._x000D_
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The chilong handles probably derived from their archaic bronze prototypes, and are often replicated on Qing porcelains, having influenced by the Qing Court’s passion and respect for the ancient arts of the ancestors. The chilong decorative motif is first seen on the archaic bronze prototypes of the Shang dynasty； gradually the tradition also inspired bronze and cloisonné works of the Qing dynasty. The Kangxi emperor placed the production of cloisonné works of art at a level of great importance, as reflected by the use of archaic - inspired chilong handles on the aforementioned metalworks of this period. For example, compare a gilt - bronze and cloisonné enamel ‘sea creature’ tripod brushwasher dated to the early Qing dynasty in the collection of the Palace Museum, Beijing, with chilong encircling the rim of the vessel, illustrated in Compendium of Collections in The Palace Museum: Enamels 2. Cloisonné in the Qing Dynasty （1644 - 1911）, Beijing, 2011, pp.148 - 149, pl.111. For another example in a different category, see also a carved cinnabar lacquer ‘figure in landscape’ box and cover with handle dated to the mid - Qing dynasty also in the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Ware of the Qing Dynasty, Shanghai & Hong Kong, 2006, p.67, pl.44. The lacquer box and cover is flanked by two gilt - bronze chilong not too dissimilar to the present lot. The two examples in question showcase the different methods of applying techniques of the past to compliment the never - ending pursuit of achieving visually new spectacular examples iconic to the grandeur of the Qianlong period._x000D_
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The depiction of the curled tail of the chilong is also evident in the Imperial porcelain from the late Ming dynasty, such as the Wanli blue and white ‘peony’ vase with upward clambering chilong handles in the National Palace Museum, Taipei, see The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, Taipei, 2014, pp.182 - 183, pl.II - 26. Compare also two other early Qing dynasty examples in the Palace Museum, Beijing: see a Kangxi aubergene glaze vase and a Yongzheng blue and white ‘lotus scroll’ vase, both illustrated in Porcelain of The Palace Museum, Ceramics of Qing Dynasty. Vol.1, Beijing, 2005, pp.148 - 149 & 398 - 399, pl.40 & 185. It is also recorded in the Qianlong period scroll painting Silk Archives on the Appreciation of Antiquities or kesi bogu shu, which confirms the appreciation and continuity of tradition of long - necked vases wiyth chilong handles, illustrated in The Enchanting Splendor of Vases and Planters: A Special Exhibition of Flower Vessels from the Ming and Qing Dynasties, Taipei, 2014, p.183._x000D_
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The present lot is an exclusively distinguished piece which is representative of the finesse of Tang Ying as the supervisor of Imperial porcelain production, as well as the majestic vision of the Qianlong emperor. It is a feat culminating the incorporation of traditional styles with contemporary Qianlong flair to reach new heights in Imperial porcelain production of that era. The cobalt blue is exquisitely fired to a sapphire - like clarity and is expertly applied in various hues of light and darkness, presenting the viewer with a three - dimensionality that has infectious attractiveness. The vase eminates a strong aura of inheriting the Ming tradition but also bears the recognition of the known Yongzheng styles. Accompanied with its original wood stand and old box, the current lot is exceptionally rare is regarded as a Chinese porcelain of legendary status.

Price estimate:
HKD: 8,000,000 - 10,000,000
USD: 1,019,110 - 1,273,890

Auction Result:
HKD : 9,350,000