A rare 'clair-de-lune'-glazed 'hundred rib' jarQing dynasty, Kangxi period清康熙 天藍釉百條缸Width 10¼ in., 26 cm来源: Description A rare 'clair-de-lune'-glazed 'hundred rib' jarQing dynasty, Kangxi period清康熙 天藍釉百條缸Width 10¼ in., 26 cmCondition reportThe jar has three restore chips to the rim, the largest approx. 4 cm along the inner rim. There is a tiny chip to edge of the unglazed base. The glaze is of a fine and even color with light wear and minor glaze imperfections characteristic of type.For more information on and additional videos for this lot, please contactserina.wei@sothebys.com.In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.ProvenanceOffered at Sotheby's New York, 6th December 1989, lot 192.Michael B. Weisbrod, Inc., New York, 1990.上拍於紐約蘇富比1989年12月6日，編號192Michael B. Weisbrod, Inc.，紐約，1990年ExhibitedIndianapolis Museum of Art, Indianapolis, 1982-1989 (on loan).From Kilns of Kings and Commoners, Michael B. Weisbrod, Inc., New York, 1990, cat. no. 46.印第安納波利斯藝術博物館，印第安納波利斯，1982至1989年 (借展)《From Kilns of Kings and Commoners》，Michael B. Weisbrod, Inc.，紐約，1990年，編號46Catalogue noteThe present jar is remarkable for its precisely potted large form which has been covered in a luminousclair-de-luneglaze.This high-fired glaze, with a cobalt content of about 1%, was first produced by the imperial kilns in Jingdezhen during the Kangxi Emperor’s reign. Known in the West by the 19th-century French connoisseurs’ termclair-de-lune(‘moon light’), and in China astianlan(‘sky blue’), it was one of the most successful monochrome glazes created in Jingdezhen during the Kangxi reign, its soft hue reserved exclusively for imperial porcelains. The color remained popular throughout the Qing dynasty, but after the Kangxi period lost its delicate tone. A closely related jar from the Edward T. Chow Collection was sold in our Hong Kong rooms, 25th November 1980, lot 73; and another from the J.M. Hu Collection, illustrated in Qing Imperial Monochromes. The Zande Lou Collection,Shanghai, Beijing, Hong Kong, 2005, pl. 32, was sold in our Hong Kong rooms, 4th June 1985, lot 29. See also one sold in our London rooms, 10th July 1979, lot 203, and again in these rooms, 20th May 1980, lot 98; two further jars sold in these rooms, one from the collection of William L. Parker, 11th May 1978, lot 212, and the other, 4th December 1984, lot 345; and two recently sold in our Hong Kong rooms, 5th April 2017, lot 1111 and 3rd April 2019, lot 3655. The form of these jars derives from Longquan celadon wares of the 14th century, which were made with covers in the form of a lotus leaf, such as one from the collection of the Ottoman sultans and now in the Topkapi Saray Museum, Istanbul, included in Regina Krahl,Chinese Ceramics in the Topkapi Saray Museum, Istanbul,vol. I,London, 1986, pl. 213; and another, in the Tokyo National Museum, Tokyo, published in theIllustrated Catalogue of Tokyo National Museum. Chinese Ceramics II,Tokyo, 1990, cat. no. 14.In the later Qing period, jars of this type may have been described as 'Ru-glazed', and the ribs referred to as ‘hundred folds’ (baizhe). According to the inventory of the Qing imperial court archives, dated to the twelfth month of the eleventh year of the Guangxu period (in accordance with 1885),Ru you ci baizhe xiao yugang yi kouor ‘a small Ru-glazed hundred-fold fish jar’ was stored in the porcelain quarter of Fangyuanju (Residence of the Aromatic Garden) in the Imperial Summer Palace at Chengde.