The Times acclaimed Yayoi Kusama as an existing epic artist in the world, and Emperor Akihito of Japan awarded her with the Japanese cultural medal, which meant that Kusama had become a national treasure level artist of Japan. In ten years, the total auction price of Kusama’s works has increased from $940000 in 2004 to $35.45 million in 2014

Emperor Akihito awarded the Japanese cultural medal to Kusama in 2016

Yayoi Kusama
Pumpkin
59×50cm
Autograph: Yayoi Kusama
Created in 1999
Screen printing
Spring auction of 2020, Jointwells Hong Kong

Yayoi Kusama
Lemon Tea
84.8×68cm
Autograph: Yayoi Kusama 9/50
Created in 1988
Screen printing
Spring auction of 2020, Jointwells Hong Kong

Murakami (left) and Virgil abloh, leader of OFF-WHITE (right)

Takashi Murakami is one of the most important Japanese contemporary artists in post-war period. He studied traditional Japanese art at the Tokyo University of the Arts and became the first person to receive a doctorate in Japanese painting in its history.
All of Murakami’s works show the basic concept of “super flat”. His works finally present the style of commercial patterns and flat image like computer screens through his flawless, precise and meticulous handcraft. According to Murakami, the concept of “super flat” faithfully reflects the social reality at that time, as well as the general spiritual outlook of Japanese society after the atomic bombing of Hiroshima and Nagasaki during World War II. In addition, from historical perspective, Japan’s unique geographical structure has made the country face the threat of strong natural disasters for a long time, which is perplexing. For the Japanese, they not only have experienced personally the flattening in history, but also the metaphorical meaning of this concept is rooted in their national character. In particular, the power of Western politics and culture swept Japan after World War II, which has made the flattening of democratic system and culture well known but impossible to retrieve.

Takashi Murakami & Pharrel Williams
Created during 2008-2009
The Simple Things
Transaction price: HK$21,725,000
Auctioned at Christie’s Hong Kong, 23th November 2019

Takashi Murakami
When I Close My Eyes, I See Shangrila
Transaction price: HK$13,840,000
Auctioned at Christie’s Hong Kong, 28th November 2015

Takashi Murakami
Happy Kaikai & Kiki
Autography: Takashi Murakami 153/300
Print
68×68cm
Resource：Private collection in Asia
Spring auction of 2020, Jointwells Hong Kong

Takashi Murakami
An Homage to Monopink
Autography: Takashi Murakami 203/300
Print
74×53.5cm
Resource：Private collection in Asia
Spring auction of 2020, Jointwells Hong Kong

Takashi Murakami × ComplexCon
Created in 2016
DOB-Kun (2 pieces)
Resources：Kaikai & Kiki Studio, Japan
28×19×24cm
Spring auction of 2020, Jointwells Hong Kong

Ron English, who is known as the new Andy Warhol, is one of the most outstanding pop masters. Ron English is involved in a wide range of art fields, including record design, graffiti art, painting, fashion toy design, etc.
In Ron English’s works of art, we can always see familiar pictures or characters. Under his reinterpretation, these pictures and characters can always bring us brand new feelings. Typical works include McDonald’s uncle (who is called “Fat Mai” because of Ron English’s design), Marilyn Mickey (a combination of Marilyn Monroe and Mickey Mouse) and grin (Charlie Brown, a little boy in Snoopy cartoon, designed to be a horror version), etc. There is no doubt that he is the most talented and controversial contemporary artist. His works have always been famous for realism techniques and creative use of cartoon characters.

Ron English

Scene of Ron personally signing

Ron English
MC Supersized
Autography: English
Oil Painting
Resource：Purchased from Ron English
Spring auction of 2020, Jointwells Hong Kong

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•     © RON ENGLISH

Ron English
Cartoon Character Fantasy
Autography: English
Resource：Purchased from Ron English
Spring auction of 2020, Jointwells Hong Kong

Ron English
Serve the people(Left),
Pink Imperial Stormtrooper(Center),
MC Supersized(Right)
Autography: English (on the back)
Resource: Purchased from Ron English
Spring auction of 2020, Jointwells Hong Kong

– End-

17 century
Wood lacquer Gold Statue of Pelden Lhamo
Height: 65cm

A selected treasure of 2020 Spring Auction Session held by JointWells HK

An interesting fact indicates that there exist considerable female deities in the deity pedigree of Tibetan Buddhism as a peculiar feature of the religion. The Tibetan Buddhist followers regard wisdom as the key to the practices of Buddhism, they believe that it is wisdom that can cut asunder all the trouble like a blade, kill all the evil in their minds, and help them with understanding and explaining the Ways of Buddha to finally attain the Buddhahood; such doctrine can be found in the theories of Vajrayana Buddhism——another name for Tibetan Buddhism. The creation of many female deities in Tibetan Buddhism like the Mother Buddha, Consort, and Dakini, which are all icons of wisdom, shows how much wisdom is valued through means of anthropomorphization and feminization of which. However, those anthropomorphized female deities are not really ‘mothers’ nor ‘wives’ in mundane world but just metaphors for the importance of wisdom——wisdom cultivates all Buddhas like mothers give birth to children.

Pelden Lhamo means the auspicious woman of heaven or mother of heaven in the Sanskrit language and pronounces as ‘Pelden Lhamo’ in Tibetan. Pelden Lhamo is a transcendental protector of Buddhism of great importance. The origin of hers is a complex story. Pelden Lhamo was originally a personage in the ancient India myth and was called ‘Lakşmī’ in the Sanskrit language. The myth tells that she was born when the Lord of Heaven and his enemy, the Jealous God, were churning the Ocean of Milk. Lakşmī was shaped into a live female deity afterward in the Brahmanism and Hinduism and was named as ‘the heaven of the merit and virtue’, as well as ‘the auspicious heaven’. It is said that she’s the daughter of Taksaka and Hariti, the wife of Vishnu, the mother of Kama (the god of love) and the sister of Vaiśravaṇa (the god of wealth) and that she’s the god of destiny and fortune. She was vanquished by Vajradhara and become a protector of Buddhism in the end. And as a protector of Buddhism, the merit and virtue she acquires is beyond our imagination. It is recorded that any Buddhist follower who recites her sutra, places Buddhism statues for worship, prepare offerings of flowers and flavors and chants her name will be blessed with wealth and treasures in the chapter The Heaven of Merit and Virtue in the sutra Suvarnaprabhasa. It is also recorded in The twelve famous Sutras of Bodhisattva that she has twelve names and that if a Buddhist follower successfully keeps on reciting all her twelve names and following her path in practicing and offering, then the end of this follower’s poverty will be attained and the follower can be rich and wealthy. For the merit and virtue that Pelden Lhamo owns to bring in blessings and bring out misfortune, a kind of Buddhist Ceremony was then formed in her names to repent for sins, reduce suffering and bring benefits, which is called Buddhist Auspicious Repenting Ceremony.

The status and images of Pelden Lhamo has been through drastic changes after joining the deity pedigree of Tibetan Buddhism: she ascends to transcendental protector of Buddhism from the original mundane protector of Buddhism and become a deity to which the Buddhist followers can convert; her name has changed too——she becomes auspicious mother of heaven rather than auspicious woman of heaven; the image of hers used to look calm and gentle, now she looks angry and powerful, and the images can differ between different sects. She is usually portrayed as having two arms or four arms, and the former one is mostly worshiped by Gelugpa sect as one of their Red and Black protectors of Buddhism while the latter one is worshiped by Kagyupa sect and Sakyapa sect.

This statue is of Pelden Lhamo with two arms. Wearing a Five Skull Crown on the head, the figure is bristling with anger; the Pelden Lhamo is depicted as a strong and powerful image with a stout face with three bulging eyes and a mouth to show her teeth; her body is robust and strong and the muscles appear soft and full; in addition, the figure’s female feature is obvious with uplifting breast. There is a piece of human-skin cloak on her bare upper part of the body, a ghost plate and a vine of human heads on her belt, armlets on her arms and bracelets around her feet. She holds a Gabbra bowl with human heart and blood in it in one hand and a skull staff with the other hand as she sits on the back of a yellow mule, of which the saddle is made by human fell with the head hanging below (it is said that the corpse belongs to her own son), and a pair of divination dice are attached to the saddle. The ornaments around her body are all finely designed and sculptured and she sits half cross-legged on the mule back in an elegant manner. This Pelden Lhamo statue with peculiar pose, exquisitely crafted and elaborately ornamented, has a vivid image and demonstrates advanced artistic and technical craftsmanship. Plus, this statue is much bigger compared with statues of the same figure, making it a rare treasure indeed.

-End-

To all collectors:

Thanks to your full and sincere support, the first auction held by JointWells HK was a great success. JointWells HK is collaborating with the Hall of Harmony Culture Co.Ltd to present the exhibition the Selected Treasures of 2020 Spring Auction Session. The exhibition will be held from November 30^th to December 8^th 2019 in Beijing, and it will cover jade wares, Buddha statues, porcelain, antiques, and special limited version luxury bags. All items are handpicked by our experts and are representatives in the field. We invite all collectors and art lovers to enjoy this preview exhibition.

Please note that we have also prepared a collection of top-quality Burma jadeite for you to appreciate and acquire.

Seal mark: “Made in Xuande Reign, Ming Dynasty”
Height: 17.3cm
Auctioned at Sotheby’s United Kingdom
16th June 1999
lot 790

The imperial porcelains made for the court during Xuande reign of Ming Dynasty were the climax of Chinese ceramics production. They stand the test of time and can be model for the coming generations. In Xuande period, under the order of the royal family, with the improvement of production and firing technology, and the vivid artistic characteristics, the most outstanding blue and white porcelains in the history of Chinese porcelains were created by using the imported blue and white raw materials, which turned to be imitated by descendant since its birth

In Xuande reign, the quality control of imperial kiln was very strict. A large number of debris unearthed in Xuande stratum of Jingdezhen imperial kiln revealed the high quality requirements at that time. Any porcelain that could not meet the standards was destroyed and buried.

The fine quality and diverse patterns of imperial kiln porcelains reflect the artistic taste and pursuit of Xuande Emperor himself. The body of Xuande porcelains is low in calcium and high in potassium and thus has high light transmittance. In this period, the glazing of underglaze blue and white was fully mastered.

This bowl is typical of Xuande period. It is made of imported Samarra-blue, so the blue and white glaze is light, elegant and soft, which is extremely rare at that time. The color of its glaze can rank among the finest in the works of the same period. Its glaze is thick and lustrous, the lines of interlock branch lotus pattern are smooth and simple, and the painted flowers and leaves are vivid.

Zhu Zhanji, Xuande Emperor of the Ming Dynasty

Xuande Emperor was diligent in his governance and adored Confucianism. China was peaceful and prosperous then. He was deeply influenced by his grandfather, Yongle Emperor, who believed in Buddhism. The Buddhist temples and pagodas built during Yongle reign were later finally completed by Xuande Emperor. For example, the great Baoen temple and its porcelain tower in Nanjing.

At this time, the porcelains made by Jingdezhen imperial kiln also reflected the influence of Tibetan Buddhism. The ritual vessels of Xuande reign mostly replaced the monochromatic white glaze of the previous dynasties with blue and white, while blue and white porcelains were decorated with the patterns of interlock branch lotus, lotus petals, Buddha and lions, the eight auspicious symbols and so on. The interlaced floral and scroll grass patterns were learned from the Western, transmitted from the Mediterranean countries, through Central Asia and ancient India, and then to China. They were first applied in Buddhist architecture or stone carving, gradually in silver ritual vessels, and finally became porcelain decorations.

The original script of this porcelain’s seal mark probably belonged to Shen Du who was great calligrapher at that time. Shen Du’s calligraphy was deeply appreciated by the emperor, who often learned from him. Therefore, Wan Li Yehuo Bian praised Xuande Emperor’s calligraphy as “learning from Yan Qingchen, with a little attitude of Shen Du”. Shen had a great impact on the court cultural life in the early Ming Dynasty.

According to the seventh volume of Yu Tang Conghua written by Jiao Hong, “the emperor loved Shen Du’s calligraphy so much that he ordered Shen to write all the official documents needed and reserved by the imperial court and ancestral temple.”

The three characters “Xuande” and “Nian” in Shen Du’s famous work epitaph of Zhanghuan are very similar to those on porcelain, no matter the size of the points, the length of the strokes, the strength when writing, and the structure of characters. It can be seen that the seal mark on this bowl was written by Shen Du and then copied by craftsmen.

Written by Shen Du in the 2^nd year of Xuande Period (1427), Ming Dynasty
Manuscript on paper, in regular script, published in Japan Collected Works of Chinese Calligraphy

Because of the special technology, Xuande-reign blue and white porcelain was very unusual in Ming Dynasty. Xie Zhaozhe, who lived in Jiajing period, commented it in Wu Za Zu: “The porcelains of Xuande period not only have precious shapes and colors, but also excellent calligraphy and paintings.”

Just because of this, Xuande-reign porcelains have been highly complimented after, and have always been priceless. In Liuqing Rizha by Tian Yiheng, Ming Dynasty, the author said their value astonished him. Today, Xuande-reign imperial blue and white works are important collections even in the world’s major museums, and few can be privately owned.

REFERENCE 1
A blue and white bowl with interlock branch Lotus, seal mark of Made in Ming Xuande Reign
Diameter: 17.3cm
Auctioned at Sotheby’s Hong Kong
3rd April 2019, lot 0010
Transaction price: HK$109.75 million

REFERENCE 2
A blue and white bowl, Xuande Reign, Ming Dynasty
Diameter: 17.3cm
Jessica, H. H., Catalogue of Ming Ceramics in the British Museum, Beijing: the Forbidden City Publishing House, (1)

Height: 28.2cm
Seal mark: “Made in Jiaqing Reign, Qing Dynasty” in seal script

Source of acquisition:

1. Collection of Colonel R.H. Rocke who served in the Sino-British war in 1860 and participated in the battle in Beijing
2. Collection of Czech National Museum
3. Italian private collection

Lantern-shaped vase, as the name implies, gets its name because it looks like a lantern. It has round shoulders and belly that stand for good luck in Chinese traditional ideas.

Lantern-shaped vase was first produced by Jingdezhen imperial kiln during Yongzheng reign and popular in Qianlong and Jiaqing periods. Its decorative glazes are diverse, like blue and white, famille rose, tea dust glaze, underglazed red, etc.

This vase has slightly skimmed mouth, short neck, broad shoulders, long vertical belly and circular foot. The whole body is painted with doucai contrasting colored glaze, while the belly with interlaced floral design and embellished with “peace and prosperity” pattern. The shoulders are decorated with western style scroll-grass-patterned clouds, which are dense but not messy. The overall composition is full of strong western Baroque flavor. The bottom near the foot is encircled with deformed lotus petals. This kind of continuous layout form contains the traditional aesthetic taste that good things should be in pairs.

The gorgeous decorative patterns and colorful glaze set off an atmosphere of happiness and peace. This porcelain has exquisite glaze, bright doucai contrasting colors and flexible strokes. And it deserves to be a Qing palace’s model work imitating the West.

The use of western elements in the decoration of Qing Dynasty’s doucai porcelain was first seen in Yongzheng period. As a result, the western elements became popular in the decoration of various crafts, which had something to do with the Emperors’ preference. The craftsmen of imperial kiln boldly used western arts for reference and explored the integration of both cultures, and managed to lay an important foundation for the development of Chinese doucai technique.

REFERENCE 1
A famille-rose-glazed, Interlaced-branch-lotus-patterned and, lantern-shaped porcelain vase, with painting of the eight immortals crossing the sea, Qing Qianlong Reign, height 20.1cm
Auctioned at Sotheby’s Hong Kong, 6th April 2016
Transaction price: HK$12.08 million

REFERENCE 2
Auctioned at Sotheby’s Hong Kong, 8th October 2008, height 31.5cm

REFERENCE 3
A doucai style, lotus-and-bat patterned porcelain jar with lid, collected in Qing Dynasty’s court in the past
Recorded in Wucai·Doucai, a collection of cultural relics in the Palace Museum, published by Shanghai Scientific and Technical Publishers, 1st April 2005, page 289, figure 263

Two sessions combined have achieved a turnover of 116 million HK dollars (including premium). With more than 200 lots sold, the turnover rate reached 83%.

JointWells (HK) has successfully concluded its first auction, 2019 Autumn Auction, on October 5^th 2019 at Renaissance Hong Kong Harbour View Hotel.

Mr. Peifeng Zhu, the Chairman of JointWells (HK), has summarized the result:

“In this golden autumn, lot of auctions have been going on in Hong Kong. JointWells (HK) chose this period to enter the play is because we are well-prepared, also we have tremendous dedication and love for art as well as confidence in future market.

For our first auction, we presented two sessions Inheritance – Important Chinese Art from the Ever Concord II and Panorama – Hidden Treasures and Fine Antiques. From 3^rd to 5^th October, after three days of preview, the auction was a great success. The total turnover reached 116 million HK dollars. Although this number was more or less expected, but the process was full of surprises.

Since the establishment of JointWells (HK), every task has been carried out step by step. The company focuses on every aspect of the auction, from artwork and antique collection, storage management, catalogue editing; we also pay great attention to the source and inheritance aspects of the objects we put on auction. We care and put a lot of efforts to communicate with the buyers during the collecting process, so this turnover is in line with expectations. During the preview and auction period, the company is steadily advancing on the transportation, curating and exhibition, auction process, ensuring that everything is in place flawlessly.

Mentioning surprises, I would like to express my gratitude to collectors coming from all over the world to participate in this auction. Recently due to a series of events, it is not an easy decision to make to travel to Hong Kong, yet they showed up with such passion to participate and share this great moment together with us. This has really touched me, and it gave me great consolation and motivation, In the future, we will strive to expand and perfectionate our operation networks and coverage, and we look forward to meeting everyone again next May.”

The auction commenced with the first session Inheritance – Important Chinese Art from the Ever Concord II. After two hours of fierce bidding, 33 lots have all been sold, and thus the turnover rate was 100%. The auctioneer was rewarded with white gloves. This session has achieved a turnover of 61.6 million HK dollars.

A gilt-bronze Maitreya figure from Ming Dynasty, acquired from a private collector in Japan, has won the highest bid of the session. The starting bid was 1 million HK dollars, and after a fierce bidding war, the lot was sold with a hammer price of 19 million, and 22.42 million with premium, 18 times more than the estimated price.

Ming Dynasty
Gilt-bronze Maitreya Figure
Height: 89cm
Source: acquired from Japanese private collector

Sold for: 22.42 million (including premium)

The runner-up goes to the Stupa of Many Doors from Yonge era, Ming Dynasty. As one of the “Tathagata Stupas of the Eight Sacred Places”, which is a set of eight stupas that is one of the most important ceremonial instruments for believers of Mahayana Buddhism, this stupa is the only one that could be traded on the market. The starting bid was 3 million HK dollars, and after many rounds of competition, the final bid reached 9.32 million HK dollars, and this hammer price has become the second top of the session. Moreover, the flower spray bowl from Xuande era of Ming Dynasty, achieved hammer price of 7.55 million HK dollars due to its sophisticated details and rarity, and therefore became the third place of the session. Another porcelain masterpiece, the flower spray vase from Jiaqing era of Qing Dynasty, was sold for 4.07 million HK dollars. As for jade wares, a pair of white jade screen depicting mountain river scenery was sold for 3.42 million HK dollars, and a yellow jade fish figurine from Qing Dynasty realized 3.03 million HK dollars.

Yongle era, Ming Dynasty
Gilt-bronze the Stupa of Many Doors, inscribed Da Ming Yongle nian shi
Height 28.5cm
Source: acquired from Japanese private collector

Sold for: 9.32 million (including premium)

Xuande era, Ming Dynasty
A Flower Spray Bowl, inscribed Da Ming Xuande nian zhi
Height: 17.3cm
Source: Sotheby’s, 1999/6/16, Lot 790

Sold for: 7.55 million (including premium)

Jiaqing era, Qing Dynasty
A Flower Spray Vase
Height: 28.2cm

Sold for: 4.07 million (including premium)

Qianlong era, Qing Dynasty
A Pair of White Jade Screens depicting mountain river scenery
Size: 20cm
Source: acquired from private collector in Singapore

Sold for: 3.42 million (including premium)

Qianlong era, Qing Dynasty
A Yellow Jade Fish Figurine
Height: 23.5cm
Source: acquired from a private collector in Taiwan

Sold for: 3.03 million (including premium)

In this session, JointWells (HK) presented 218 carefully selected art pieces, covering porcelain, jade, buddha statues, Chinese paintings, tea art, contemporary art, etc. The total turnover reached 54.32 million HK dollars (including premium), and the turnover rate was 81%. Among these precious items, a Blue Enameled Vase from Qing Dynasty and a Gilt-Bronze ‘Green Tara’ Sitting Figure also from Qing Dynasty, were both sold for 4.48 million HK dollars, and thus claimed the winner of this session. A white jade twin-handled censer from Qing Dynasty started the bidding at 250,000 HKD and was favored by many collectors, in the end it was sold for 3.3 million HKD (including premium), 10 times more than the original estimate.

Yongzheng era, Qing Dynasty
A Blue Enameled Vase, inscribed Da Qing Yongzheng nian zhi
Height: 63cm
Source: auction in Paris

Sold for: 4.48 million HKD (including premium)

Qianlong era, Qing Dynasty
A Gilt-Bronze ‘Green Tara’ Sitting Figure
Height: 53cm

Sold for: 4.48 million HKD (including premium)

Qianlong era, Qing Dynasty
A White Jade Twin-Handled Censer
Size: 16cm

Sold for: 3.3 million HKD

Height: 63cm
Seal mark: “Made in Yongzheng Reign, Qing Dynasty”
Source of acquisition: bought at an auction in Paris, France

The vase is a marvelous work of art among the imperial porcelains of Yongzheng reign. This vessel shape is known as “Globular Vase”, it is worth mentioning that there has always been a saying in the Chinese aesthetics that the heaven is round and the earth is square. Therefore, this kind of bottle with rotund belly is no less than a subtle metaphor of the heaven. Compared with other globular vases, this item appears notably glorious and magnificent. Because Yongzheng reign imperial porcelains admired the ones of Yongle and Xuande reign, the Jingdezhen imperial kiln vigorously imitated the Yongxuan style. Even so, the sapphire-blue glaze was very difficult to be produced. It belongs to high temperature lime alkali glazes, which takes cobalt oxide as color agent, and is enameled directly on the porcelain body and fired at 1280-1300℃ at a time. Its firing technology marked Chinese ceramics industry’s proficient appliance of color agents.

During Kangxi, Yongzheng and Qianlong periods of Qing Dynasty, the production of sapphire-blue glazed porcelains was greatly developed. The court archives of Yongzheng and Qianlong reign recorded that the imperial kiln fired sapphire-blue glaze, for example “Jingdezhen Taolu” written by Lanpu and “Taocheng Jishi” by Tang Ying. This sapphire-blue globular vase turns to be one of Yongzheng reign’s typical vessels, whose appearance is similar to those of Yongle and Xuande periods, and its proportionality is fair, more precious than those of Qianlong reign.

Globular vase was named after the rotund belly similar to celestial sphere. It was first seen in the early Ming Dynasty, the 15th century, coinciding with the sailing age when Zheng He led his huge fleet to the western ocean. According to Investigation on Islamic Factors in Ming Dynasty’s Porcelains(1999) published in Archaeology Journal by Ma Wenkuan, the shape of globular vase was possibly inspired by Islamic bronzes or glass in the Middle East.
Originally named as Qianqiu vase, Globular vase symbolized “peace from generation to generation”. In the history its style stood out from imperial porcelains. Although it cost a lot, the emperors pursued refinement regardless of the expenses. The size of this globular bottle is almost unparalleled throughout Qing Dynasty, There exists only one exception close in size to it, which was once collected by Naval and Military Club and Jingguan Tang, and sold at Christie’s London, 28th June 1968, lot 53, twice at Christie’s Hong Kong, 3rd November 1996, lot 553 and 30th October 2001, lot 805, and Sotheby’s Hong Kong, 25th April 2004, lot 309.
As for the work, there are few examples with such solid size and brilliant blue glaze as this one. Sapphire-blue glaze was invented at Jingdezhen kiln in Yuan Dynasty, then during Xuande reign of Ming Dynasty it ranked among the finest color glazes with ruby-red and sweet white. The piece of globular vase has round mouth, long neck, sloping shoulder, arc body and circular foot. At the center of its white-glazed bottom, there is a neat and beautiful seal mark with blue and white color in two lines and circles with regular script style “Made in Yongzheng Reign, Qing Dynasty”. The entire body is covered with blue glaze as even, bright and delicate as sapphire. The decoration of rush-grass around the rim manages to add tranquility to the vessel and highlight the distinct characteristics of that age. As the shape and profile of this object totally fit the charm of Yongzheng reign porcelains, no modifications would be required.

At the end of Qing Dynasty, Xu Zhiheng wrote in Yinliuzhai Shuoci: “Ancient porcelains adored cyan, so all kinds of green and blue were described as cyan”. Liu Zifen mentioned as well in Zhuyuan Taoshuo that “cyan is often mixed with blue”. The Sapphire-blue glaze looks deep, its surface does not flow, tone is even and presentation of color is stable. The descendants called it “Baoshi Blue” and paralleled it with white glaze and red one, which were the three top-grade color glazes of Xuande reign. The craft inherited the tradition of Yuan Dynasty and was burnt continuously, mainly for palace display. During Ming and Qing Dynasty, this glaze gave grace to instruments because of the solemn and tranquil color. In fact, the number of existed sapphire-blue glazed porcelains is very limited, let alone one with such considerable dimension.
Similar examples can be found in Complete of Cultural Relics Collected in Palace Museum – Color Glazed, Shanghai & Hong Kong: Science and Technology Press, Commercial Press Ltd, 99, 142(1999) and Porcelain collected in Wangxinglou, 224(2004). Besides, on 26th November 2014 Christie’s Hong Kong auctioned a “Qing Qianlong reign bluish-blue glazed globular vase” at the price of HK$31.6 million.

Reference:
Qianlong Reign-period, Qing Dynasty
Bluish-Blue Glazed Globular Vase
Auctioned at Christie’s Hong Kong
26th November 2014, lot 3275
Height: 55.5cm
Transaction price: HK$31.6 million

It is worth noting that this artifact is matched with a gilded bronze base of rococo style, which was formed during the period of Louis XV with the support and promotion of Madame de Pompadour. The gorgeous and exaggerated decoration and dynamic artistic conception tend to be light and sweet. The gentle wave curve, the refined and complicated sculpture, the elegant rolled-leaf pattern and the naughty little angels make rococo style get the favor of many foreign collectors. Its exquisite sculpture shows the outstanding craft inspiration and artistic level of French artists at that time. This artwork is full of noble taste, with the characteristics of French court in 18th century. Under the blessing of angels, it seems to be slowly narrating to the world the pinnacle of the combination of Chinese and Western art.

Imperial Embroidery and Jewellery Hanging Panel
Dimensions:101cm×141cm
Classification: Textiles-Embroidered
Source: Purchase in Hongkong, 1985

The world of bliss is the translation of the Sanskrit Sukhavati. It refers to the pure land of Amitabha, also known as the pure land of bliss, the land of bliss, the pure land of the West, the West, the pure land, the supporting world and the happiness country. Distant from the contemporary world 10 trillion Buddhas land is the pure land of bliss. In the case of the Pure Land, there is a detailed explanation in the Amitabha Sutra, and Amitabha is still speaking here. According to the Sutra of Infinite Life, those who were born in the Buddhas land are all happy. According to the Buddhist scripture, there is no evil road in the vast holy land. Everyone is pure and equal, treasures are everywhere, holy water is in the pool, the pavilion is magnificent, and the music spreads in the air, which is a wonderful world.

This hanging panel shows all kinds of rare and marvelous scene in the pure land of Amitabha. The main Buddha Amitabha’s head is decorated with mound of flesh, round face, straight eyes and brow, and a smile on his mouth, showing the solemnity of the Buddha. The upper body of him is covered with a right-style Kasāka and the bottom is covered with a flowing monk skirt. The lotus is held in his hand. There are eight great bodhisattvas, the heavenly girls and all living creatures listening to the dharma on both sides of Amitabha, and the light is shining behind the Buddhas’ head, which reflects the Buddhas’ holiness and nobleness. The pavilions are embroidered everywhere on the hanging panel, in the treasure pool, the flowers and trees are beautiful, the auspicious cluster, and the lecture hall and vihara where the Buddhas live built by the seven treasures are splendid and magnificent. The embroidered artists vividly described the blissful world with the scenes in the Buddha Expounding Amitabha Sutra: In the six periods of the day and night “The Flocks of Birds Sing Forth Harmonious and Elegant sounds” and “A Heavenly Rain of Mandarava Flowers”. There are many characters in the frame, the scene is dynamic, the details are slightly appropriate, there is no sense of congestion, and the clothing is presented with the pearl in the picture, which shows the skilled craftsmanship of the embroidery craftsman.

Embroidery is the totality of various decorative patterns embroidered on textiles by needles and threads. It is divided into two categories named silk embroidery and feather embroidery, which exactly use needles to make silk or other fiber, thread penetrate the material in certain design and color, forming the stitch into pattern. Embroidery is the art that add design and artifact to any existing fabrics by needles and threads. It is one of the traditional Chinese handicrafts, spreading in China with a long history. Chinese embroidery mainly consist of four categories-Su Embroidery，Xiang Embroidery, Shu Embroidery and Yue Embroidery. Court embroidery,also named Jing embroidery or Gong embroidery, bloom among Ming and Qing dynasty with its usage on decoration and dress in the palace. It differs from folk embroidery for its strict and standard Aesthetic norms of court art, consummate skills and selected materials. The ancient embroidery treasures made and collected by the Palace Museum include utility, Religious supplies and ornaments.