A spinach-green jade 'Chrysanthemum' vase and cover 18th Century Deftly carved in relief around the entire body of the flattened vase with scrolling chrysanthemums, the tall tapering neck flanked by a pair of further chrysanthemum openwork handles, the domed cover similarly carved and surmounted by a large chrysanthemum-flower finial, all supported on a short spreading foot, the stone of dark-green tone with black inclusions, openwork stand. 33.7cm (13 1/4in) high. (3). Fußnoten 十八世紀 碧玉菊紋雙耳蓋瓶 Provenance: Curi collection, South America, by repute 來源：傳為南美Curi收藏 The present lot is delicately carved and detailed with elegant and crisply- carved chrysanthemum. The pair to this vase and cover, of the same size and design, is illustrated by J.C.Y.Watt, Chinese Jades from the Collection of the Seattle Art Museum, Seattle, 1989, p.125, no.109. The author notes that the style 'owes something to Mughal influence'. Mughal jade vessels from India were renowned for their exceptional carving and naturalistic motifs. The Qianlong emperor greatly admired the fine quality of the Mughal jade workmanship, and wrote poems praising the Mughal pieces in his collection, describing them as 'thin as paper'. Chinese carvers thereafter strove to imitate the Mughal style, combining it with Chinese elements and symbolism such as the chrysanthemum. Chrysanthemums have long been closely associated with Autumn and the hermetic poet Tao Qian (365-427 AD). Living during a turbulent period in China, he retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry. Private and quiet as his life was, his reputation grew steadily after his death, particularly for his association with chrysanthemums, which he grew in a small patch by the eastern fence of his retirement estate. Since then, the chrysanthemum has come to symbolise the literatus ideal of tranquil solitude in one's Autumn years. The chrysanthemum would also have been associated with the'Double Nine' festival, also known as the 'chrysanthemum' festival, when on the ninth day of the ninth month it is traditional to drink chrysanthemum wine. Compare with a related spinach green jade vase and cover, Qing dynasty, with similarly carved floral handles, but with a design of lotus, illustrated in Compendium of Collections in the Palace Museum: Jade, vol.10. Beijing, 2011, p.71, no.43. For another related jade vase and cover with Mughal style flowers, Qianlong, see S.C.Nott, Chinese Jade throughout the Ages, London, 1936, pl.CVIII.
A spinach-green jade 'Chrysanthemum' vase and cover 18th Century Deftly carved in relief around the entire body of the flattened vase with scrolling chrysanthemums, the tall tapering neck flanked by a pair of further chrysanthemum openwork handles, the domed cover similarly carved and surmounted by a large chrysanthemum-flower finial, all supported on a short spreading foot, the stone of dark-green tone with black inclusions, openwork stand. 33.7cm (13 1/4in) high. (3). Fußnoten 十八世紀 碧玉菊紋雙耳蓋瓶 Provenance: Curi collection, South America, by repute 來源：傳為南美Curi收藏 The present lot is delicately carved and detailed with elegant and crisply- carved chrysanthemum. The pair to this vase and cover, of the same size and design, is illustrated by J.C.Y.Watt, Chinese Jades from the Collection of the Seattle Art Museum, Seattle, 1989, p.125, no.109. The author notes that the style 'owes something to Mughal influence'. Mughal jade vessels from India were renowned for their exceptional carving and naturalistic motifs. The Qianlong emperor greatly admired the fine quality of the Mughal jade workmanship, and wrote poems praising the Mughal pieces in his collection, describing them as 'thin as paper'. Chinese carvers thereafter strove to imitate the Mughal style, combining it with Chinese elements and symbolism such as the chrysanthemum. Chrysanthemums have long been closely associated with Autumn and the hermetic poet Tao Qian (365-427 AD). Living during a turbulent period in China, he retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry. Private and quiet as his life was, his reputation grew steadily after his death, particularly for his association with chrysanthemums, which he grew in a small patch by the eastern fence of his retirement estate. Since then, the chrysanthemum has come to symbolise the literatus ideal of tranquil solitude in one's Autumn years. The chrysanthemum would also have been associated with the'Double Nine' festival, also known as the 'chrysanthemum' festival, when on the ninth day of the ninth month it is traditional to drink chrysanthemum wine. Compare with a related spinach green jade vase and cover, Qing dynasty, with similarly carved floral handles, but with a design of lotus, illustrated in Compendium of Collections in the Palace Museum: Jade, vol.10. Beijing, 2011, p.71, no.43. For another related jade vase and cover with Mughal style flowers, Qianlong, see S.C.Nott, Chinese Jade throughout the Ages, London, 1936, pl.CVIII.
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