Double Gourd Jars

A pair of monumental double gourd jars with covers (huluping 葫芦瓶), with cobalt blue and copper-red underglaze decoration. Their tall elegant shape, has a large globular underbody and a slimmer elongated neck bulb. The domed fitted lid, has two layers ending in a double gourd-shaped finial. The upper and lower bulb are similarly decorated; with four large hanging lobed lappets alternated with smaller round ones. Each lappet has a broad blue outline and is filled with copper-red scrolling peonies, with white foliage reserved on a blue ground. The bottom of each bulb has a border of four leaf-shaped medallions, filled with the same pattern and topped with a stylized lotus - each medallion connected with foliate scrolling. Around the waist connecting the bulbs, is a band with a matching pattern of foliate scrolls. The top rim and base have a narrow border of zigzag hatching. The double-domed lids repeat the decoration of the body and the top finials are white with blue stylized petals. The undersides of the vases are unglazed and unmarked. One vase has an old handwritten paper label on its neck, with both numbers and letters (not deciphered).

This pair of truly regal jars, were probably made as part of a larger garniture or group and would have undoubtably been made as a private commission through the Dutch East India Company (VOC). Large jars with covers such as these, must have been technically very difficult to create. Despite their elegant double gourd shape, these weigh a massive 48 kg each, establishing the incredible skill of the Chinese potter in the Kangxi period. Beside the challenge of producing a vase of this enormous size, this more complex double gourd form was even more difficult to fire successfully. The underglaze decoration was also more demanding to achieve, as it combines two colours (cobalt blue and copper-red), which are fired together at a high temperature (1300C) in a reductive atmosphere. Particularly the red colour was not as stable as the blue, its volatile properties often leading to colour variations.

The meaning of the shape and decoration of the jars would have been lost to the Western buyers. In China however, the double gourd (hulu) or calabash shape was considered very auspicious, standing for blessings and protection. Because of their numerous seeds, gourds were symbols of fertility; particularly Daoists associated the gourd with longevity, magic and alchemy. The decoration of hanging lappets is known as a ‘cloud collar’ (yun jian) – which refers to the Chinese collars with lobed clouds worn around the neck of embroidered robes during the Qing dynasty. But it is actually a much more ancient and universally used pattern; such collars are also found on Tibetan images of buddha, associating the pattern with Buddhism as well. On these jars the lappets are filled with a dense pattern of peonies. To the Chinese this bloom is the queen of flowers, emblematic of wealth and rank, as well as the symbol for feminine beauty.

There are only a handful of comparable jars of this size and decoration – the majority of which are in the Porzellansammlung in Dresden, the former collection of Augustus the Strong (1670-1733). This collection holds six larger jars and covers (80 cm+ PO1081-84 & PO2014), five with just underglaze blue decoration and one also with the copper red (PO2090). There are four more similar ones of the slightly smaller type, but also with the copper red, in the same collection (c.75 cm PO2091-93 & PO1121). Two other related examples are in the RA collection, Brazil. Two rouleau vases with a comparable decoration, are preserved in the National Museum of Decorative Arts in Madrid (acc.no. M.N.A.D 10.517 & 10.518). The present pair are larger than the Dresden vases and the only examples which have come onto the market in recent years.

The double gourd ( hulu ) or calabash shape was considered very auspicious, standing for blessings and protection.

China, Kangxi Period (1662-1722), circa 1720

H: 60.5 cm | Ø: 39 cm

PROVENANCE

Private Collection, Belgium

LITERATURE

Ayers 2016, p.274-5 no.571

Krahl & Ayers 1986, no.2968 & 2969, col. ill., p.937

Pietsch, Loesch & Stöber 2006, p.38-39

Pinto de Matos 2019, p.178 no.71

Ströber 2001, p.90-91 no.38

Wirgin 1974, p.108 pl.59

A striking pair of covered jars, decorated all over in underglaze blue with overglaze red enamels and gilding. The rich decoration around the body of these jars is of rockeries with a pheasant perched on flowering peony bushes and exotic birds in flight. The neck has a border of scrolling flowers and the lid a decoration matching the main body, with a lotus bud finial. The foot-rim is edged with a double blue line and the bases are unglazed. Such large covered jars are often referred to as chimney pots, as they were placed in empty fireplaces during the summer.

This type of lavish porcelain decoration, referred to as Chinese Imari, has the distinctive colour scheme of blue, iron-red and gold, inspired by Japanese Imari porcelain. After the fall of the Ming dynasty - in the latter half of the 17th century - there was a downturn of porcelain production in China. The Dutch East India Company (VOC) looked for a substitute source for these lucrative trade goods. They turned to Japan as an alternative, where porcelain including the distinctive red painted aka-e wares, were exported from the port of Imari. These wares become very popular in Europe, where they were appreciated for their bright colouring. After the Chinese porcelain trade resumed, they copied this popular new red colourway, evolving into a distinct style in itself.

An similar pair can be found in the Dresden porcelain collection (PO 5429 & 5430). The Topkapi collection, Istanbul also has several comparable jars (TKS 15/4109-10 & TKD15/4064). The East Asian Museum, Stockholm has two similar pairs but with fo dog finials (CXV-1731-AB & 1732AB) and a ginger jar with the same décor (BS-0482). The Royal Collection Trust (UK), has a smaller jar with similar decoration (RCIN3339a.b). The RA Collection has a similarly decorated jar, in just underglaze blue enamels.

China, Kangxi period (1662-1722), circa 1720

H: 38 cm

PROVENANCE

Private Collection, France

LITERATURE

Berlin 1929, no.1012

Cohen & Motley 2008, p.58 no.1.6

Gorer & Blacker 1911, pl.74

Kopplin 2004, p.61-69 (fig.3)

London 2016, no.39

Schreuder 2017

Syndram 2005, p.88 & 89

Syndram 2006, p.132 & 133

Ulrichs 2005, p.26

A very rare enamel on biscuit porcelain standing figure, the arms, legs and upper body decorated in aubergine-brown enamels with black details. He wears a contrasting threetiered skirt, decorated in bright famille verte enamels with a strong blue enamel and edged in red and gold bands. He stands barefoot and bare-chested, with his left hand on his hip and the right holding a yellow cornucopia. The laughing face has an open mouth and eyes, black eyebrows and a gold star on his forehead. The earlobes are pierced, for the addition of bejeweled earrings. He dons a thin gold hairband, holding back black enameled hair in swirls – similar to that seen on Chinese Buddhist figures. He wears beaded bracelets, bangles around the ankles and a gold collar around the neck. The gold orde-sash across the body, has a central beribboned insignia.

This figure, undoubtably made as a special private order, is likely to have been based on illustrations. It is recorded that dark skinned Africans were in China during the Tang Dynasty (618-907), but by the Kangxi period they are rarely mentioned. A direct inspiration source for this figure has yet been found, but we do know that European prints and drawings were often used as design inspiration by the Chinese potters. Perhaps even a mixture of images were used, including those of American Indians wearing feather skirts – like those representing the American continent on early maps. The attributes he carries such as the cornucopia and the sash, are of course distinctly European.

Dark skinned figures were regularly portrayed in the decorative arts in the 17th 18th and 19th centuries. Some of the finest examples, made around the same time as the present figure, are in the collection of the Green Vaults in Dresden. Figures created by Balthasar Permoser and the goldsmith Melchior Dinglinger, also wear feathery skirts, illustrations of which were perhaps a source for this figures’ curious attire.

One comparable figure, previously in the S.E. Kennedy Collection, is now in the Lady Lever Collection, Liverpool (acc.no.LL6131). The National Maritime Museum (Het Scheepvaart Museum), Amsterdam also has a similar figure in their collection (object no. 2018.0652). The Residenzmuseum, Munich, has two similar figures mounted as a clock and dated c.1730.

China, Kangxi period (1662-1722)

H: circa 15 cm

PROVENANCE

Private Collections, France & Argentina

LITERATURE

Ayers 2004, p.110 pl.116 & 117

Beurdeley & Raindre 1987, p.84 pl.122

Boulay 1984, p.232 fig.8

Desroches 1976, p.37

Pinto de Matos 2011, p.340

Sargent 1991, p.40 pl.9

Scagliola 2012, p.248 no.256

Welch 2008, p.54